Suburban Voice blog #93

  THE MEN

I WON'T CALL THIS SECTION ANYTHING CHEESY LIKE "DEMO-LITION"

Time for another round of demo reviews. Even though the Sony Walkman isn't being manufactured anymore, even though tape decks in newer cars are a thing of the past, even though cassettes are a rather inconvenient format, I listen to 'em when I can and still proudly have a deck in my 2000 Corolla. And, given life's circumstances, that will remain my car for sometime to come!

Out of the ashes of underrated Boston band Fruit Salad comes Ancient Filth, with vocalist Matt and bassist Andrew joined by three new recruits. These guys go for more of a straight-forward thrash sound as opposed to the more powerviolence approach of Fruit Salad. Matt still rants like a maniac and the more-measured tempo works in their favor. 10 songs (unless I miscounted) and a Zero Boys' cover. An elaborate lyric sheet with explanations for each track and covering a number of topics concerning both human and societal conditions. The sound quality is so-so but they're off to a good start. They've since done a recording at Dead Air and a 7" should be out in the not-too-distant future. (www.ancientfilth.com) Another relatively new local band is Aspects of War, who plow through four songs of raw, blown-out DIS(torted) core. As with Ancient Filth, I'd like to hear a better recording. Plenty of rage, here. (Who Killed Fucker, http://whokilledfucker.blogspot.com)

Aussie band Kromosom actually have a Massachusetts connection--their vocalist Doom lived here for many years and yelled for Kirrotu (a Finnish-style hardcore band with Finnish lyrics). The guitarist is Yeap, former vocalist for Pisschrist. Credible distorto-burn with reverb on the vocals and buzzing guitar. The first song is called "Systematic Death" and that gives you something of an idea as to where they're coming from, although there's equal inspiration from the likes of Kaaos and the "epic" pound of "Et Sa" makes that fairly obvious. (dbeat_holocaust@yahoo.com)

Night Prowler are from the Bay Area and, on their "Crime Wave" 5-songer, connect with a no-nonsense old school sound mixing in such influences as Negative Approach, DYS and Urban Waste. Hardly groundbreaking but pretty effective. Packaging is cool--the box is designed like one you'd see from Warner Bros. back in the day, right down to the text, as well as on the tape itself. Sonics are excellent, as well. (1617 47th Ave., San Francisco, CA 94122, www.kramrecords.bigcartel.com). Meanwhile, former 86 Mentality drummer Jason Halal has moved out from behind the kit, moved to the Bay Area from DC and grabs the microphone in Neo Cons. Rough 'n tumble hardcore punk with a winning scrappiness. "Overstimulation" is reminiscent of the Skulls' "Fuck You" (best known version is by the Subhumans). Expect a 7" on Deranged by the end of March. (neoconsyall.blogspot.com)

Two French bands, Take Warning and Pervers Et Truands team up for a split tape. Neither of 'em are particularly mind-blowing. Take Warning play rock 'n roll flavored punk but lack much in the way of ferocity. Pervers et Truands are a heavy, slow 'n doomy band. Not to the point of pure sludge but it gets painful at times and the sound quality isn't that great, either. (perversettruands.blogspot.com)

Finally, the last cassette isn't really a demo but a cassette compilation, New York Rules, packaged in a printed manila folder and with a newspaper poster. A collection of mostly-released songs by the likes of hardcore rippers Nomos, brain-pounders The Men (who turn in a fun cover of Devo's "Gates Of Steel"), tuneful Cali-style punks the Nightbirds and catchy rock of Pregnant. Hank Wood & The Hammerheads cover garagey terrain, while Dawn of Humans play Dinosaur-ish swill. The noisier Dawns of Human and shoegazery (?) Nude Beach. A decent enough sampler with a diverse lineup. (66 Steuben St., #3, Brooklyn, NY 11205, burnbooks.org)

I WON'T CALL THIS SECTION ANYTHING CHEESY LIKE "RECORD RIOT"

DISASTER STRIKES

AGORAPHOBIC NOSEBLEED/ANS-Tribute To Gang Green (Tankcrimes, 5")
I didn't know labels were still putting out those tough to play 5" records. but here's a tribute to the Boston hellions. ANB capably proffer yet another cover of "Alcohol," while ANS wail through "Let's Drink Some Beer," preceded by their own metallish rocker "Bl'azing Saddles." On lime-yellow vinyl or maybe it's meant to replicate the color of piss, after drinking all that beer. Not a crucial release, although I wouldn't use it as a coaster for a bottle of beer, either. (www.tankcrimes.com)


BRAIN CAR-Rock + Roll Bologna (Reel Time, 7" EP)
When this record showed up, I noticed some sort of rubbery substance with the words "Rock + Roll" carved into and tucked inside in a plastic bag attached to the sleeve. Since I wasn't paying a lot of attention, I figured it was plastic puke and filed it in the review box. A few weeks later, I'm going through the box and there's a rather pungent odor. Turns out it was a real piece of bologna and had, um, aged a bit. After airing out the box and sleeve (and deep-sixing the bologna), things are more or less back to normal. So the bologna's gone but the record remains and it's a good one. A satirical bent in the lyrics and semi-abrasive hardcore/punk music with an almost garagey twist and ranting vocals. Fun. (32 Engel Pl., Rochester, NY 14620)

BROKEN NECK-s/t (Art Fraud, 7" EP) 

Raw-sounding metal-tinged punk on this six song EP. The cover is a tribute to Black Sabbath’s Masters of Reality and they have a song called “Paranoid” that sneaks in a snippet of the Sab song but isn’t a cover. Scalding vocals from Holly—it’s a wonder she hasn’t destroyed her vocal chords yet—and a good amount of bash. (artfraudrecords@gmail.com)

CONFIDENCE MEN-Funnypapers (Art Fraud, 7" EP)

Stirringly dark, mid-tempo punk that makes me think of another Pittsburgh band, Brain Handle. An urgency to the songs and speeding things up for a moment on "Catching Flies." Looking forward to hearing more from this band. The guitar sound is particularly grabbing, with a haunting and jarring burn. (artfraudrecords@gmail.com)

DESCARADOS-El Canto De Los Humildes (Stonehenge, 7" EP)
I hesitate to refer to anything as emo-core, since it’s such a loaded term/description but that’s the musical realm occupied by Descarados. On their new EP, the band follow a similar blueprint as on their previous 12”. Melodic punk with a DC-ish tilt—think Rites Of Spring, only without being completely overwrought about it. Warm, stinging guitar lines and hard-hitting drumming give the songs presence, while Carlos sings in an impassioned style, quite the opposite of his high-pitched rant in his other band Sin Orden. Packaged nicely in a screen-printed fold out sleeve, printed inner sleeve and with a poster. (BP 30005, 33037 Bordeaux, FRANCE, www.stonehengerecords.com)

DIRECT CONTROL-Bucktown Hardcore (Tankcrimes, LP)

Oh hell yeah...a collection of this band's demos. The first side is the band's 13 song demo recorded in 2003 and with Ryan from Municipal Waste on bass and his nimble runs really stand out here--in fact, as great as Direct Control's first album  "You're Controlled" was, these performances outdo them. Flip it over and there's a four song session from '05 that yielded comp tracks for one of the "No Bullshit" discs and MRR's "Public Safety" comp and some really rough four track recordings from 2002 with the original North Carolina lineup. Humble origins and the '03 demo represented a pretty big leap. You probably know the deal with these guys by now but, just in case, it's early 80s-styled hardcore played with reckless enthusiasm—loud, fast and kicking ass from start to finish. The way it should be done. (www.tankcrimes.com)

DISASTER STRIKES/BRING DOWN THE HAMMER-Split (Overdose On Records, CD)
It's hard to believe that Disaster Strikes have been around for over a decade. More accurately, vocalist JR has continued with a dizzying amount of personnel changes. Their three songs here are throttling, aggressive hardcore taking on the health care racket, religion and corporate predators. Leftist boilerplate, for sure, but you won't hear criticism here because I know JR's backed up his words with action over the years. Bring Down The Hammer, in case you haven't heard of them before, is Chad Malone from Brother Inferior/Assembly of God/etc's latest band. Short blasts of mainly hyper-speed hardcore, although some of it is played at more of a measured pace and there are some heavier, crushing moments as well (trying to avoid 'hammer' terminology, here). Lyrics mainly concerned with ongoing economic and political battles. A varying amount of success but "Public Lands--Private Hands" is a good example of what they can do with a more focused attack. That's only about half the time, though. (PO Box 525, Fleetwood, PA 19522, www.overdoseonrecords.com)

GASMASK TERROR

GASMASK TERROR-Black Sun/Fake Gold (Solar Funeral, LP)
Ces enfants terribles, les créateurs de la violence D-beat, de retour pour une autre session de gravure. Il n'y a rien de compliqué ou de fantaisie sur ce jeu Gasmask Terror. Ceci est fort, rapide, de la musique brûle. Il est brutal. C'est premières. Vous allez adorer. (I apologize if my French is mangled or nonsensical. I used Google Translate.) English synopsis? More loud, raw d-beat mania from these enfant terribles. And the wall of sound is stripped away for a rough-hewn, scrappier approach. Mainly fast-paced fodder but "The Cult" is damn-near catchy rocker. (www.solarfuneral.org)

GIRLS OF PORN-s/t (self-released, 7" EP)

An abrasive, trebly, blown-out mess of a garage punk sound along the lines of Homostupids. Those are positive attributes in this instance although I think extended exposure could cause my (or other listeners’) head(s) to explode. It comes with a 3D cover and glasses and that’s pretty nifty but the music is plenty head-messing on its own without additional visual effects. (369 Hamilton St., Apt. 2, Albany, NY 12210, girlsofadultfilm@gmail.com)

HERO DISHONEST-Dangerous (IfSociety, LP)

This veteran Finnish band have never strayed all that far from aggressive hardcore punk and on Hero Dishonest's latest album, that remains the primary focus. It’s not the whole story, though. The closing song on the first side, “Space Command,” starts out full-tilt but then settles into an ominous lope with an odd sci-fi narrative recorded by Hewhocorrupts’ vocalist Ryan Durkin. Things take a slightly more expansive route on the flip, starting with the Black Flag-meets-Effigies inspiration (to my ears) for “Company Bad Man” and both “Finger On A Button” and Like A Moth To A Flame” display a driving rock dynamic. “A Cult Of Comfortable Everyone,” alternates between a stew of barbed ‘n sputtering guitar over percolating bass line, interrupted by some manic thrash. There’s something of a whimsical, semi-abstract nature to certain song titles and lyrics. Perhaps to confuse the listener or, in this case, record reviewer, some of the titles listed on the back of the cover and record label don’t always match the titles on the lyric sheet, although there’s thematic link: is it “Fag Agenda” or “From Fred Phelps With Love,” about the Westboro Bapstist church i.e. “God Hates Fags” psychopaths? When one writes that an album is “interesting” or “creative,” it could be considered damning with faint praise. No “grit in the grooves,” to use a phrase heard on a radio ad many years ago. Trust me—that’s not the case here. Hero Dishonest are a dynamic, unpredictable band. (www.ifsociety.com)

KITTY LITTLE/SCIENTIFIC MAPS-Split (Peterwalkee, 7" EP)
The pair of songs by Kitty Little operate in a power-poppy region along the lines of Superchunk. A warm guitar tone, a fairly nifty drum 'n percussion break on "Milkshake" and a tad edgier for "Never Stay." Mildly enjoyable although not something mind-melting. I really can't get into the bouncy, lightweight 60s-inspired pop w/trumpet of Scientific Maps. One step above twee. (408 Richmond Ave., Buffalo, NY 14222, www.peterwalkeerecords.com)

LOW THREAT PROFILE-Product #2 (Deep Six/Draw Blank, LP)

LTP are one of those bands spoken about in hushed tones. Add my voice to the choir of people lauding the virtues of their new 12”. A collaboration between members of No Comment, Lack of Interest and Infest and it took a long time for this 12” to see the light of day, with the music recorded in 2000 and Andy’s nettled vocals in 2010. The Infest comparisons are inevitable, with Matt Domino’s guitar sound and the tempo shifts—and those are executed with ruthless precision. Beyond that, there’s an obvious affection for early Boston hardcore (Negative FX, in particular) and early DRI. These “old-timers” can definitely teach the youngsters a lesson or two and the sentiment behind “My One and Only True Love,” about a life-long affection for this kind of music I’m writing about, seems sincere. Too bad they’re not going to be doing any sort of touring or all that many live shows. (www.deepsixrecords.com)

MANIPULATION-s/t (Sorry State, 7" EP)
Another session of punishing hardcore on Manipulation's second self-titled EP. Rampaging soundbeds, as one song goes into another, bridged by squalls of feedback and creating the accompaniment for Jordan’s venomously emanated words. If there’s a theme at all, it’s pretty well summed up on “Under The Influence”—“there’s no such thing as a world of plenty” and a lot of people are finding that out the hard way. I’ve repeatedly talked about a return to an 80s state of mind, full of despair and Manipulation express those thoughts with unabated anger both in a lyrical and musical sense. And they don’t try to slavishly recreate the sounds from back then—this has a forceful, contemporary feel to it. (www.sorrystaterecords.com)

MURDERESS-The Last Thing You Will Ever See (Aborted Society, LP)
A cavernous hodgepodge of 80s crossover hardcore/metal along with doomier crust trappings. The pit 'o doom ambiance brings Sacrilege to mind, as well as early Voivod and even Venom (sound-wise) but coming from the hardcore side of things. Rachel Nakanishi handles guitar and bass on this recording, in addition to her nasty, howling vocals and the emanations are nightmarish. Same for the lyrics--well, expressing a nightmarish world where only death is certain, if I can use a cliche here. Dark and intense but not bogging down into a sloggish morass. (1122 E. Pike St, #1377, Seattle, WA 98122-3934, abortedsociety.com)

NARCS-s/t (Reel Time, 7" EP)
From the same label that brought us the Brain Car EP. No bologna or other luncheon meats included with this one but not that dissimilar, in that these guys mix up snotty/thorny punk, hardcore, garage, even some surf and don't take themselves too seriously. Not a joke band, though--sharp playing and a kinetic approach. (32 Engel Pl., Rochester, NY 14620)

THE PMRC-Politics, Morality, Religion, Cash (Motorchest, LP)

The "lost album" by this band who come from the incestuous Houston scene, where it seems as though everyone is in a dozen bands. This three piece dish out rockin’ punk with hardcore touches and smart topical lyrics. But they reach into other musical regions, as well, such as on the moody “Civilized Vultures.” Songs like “Get Away From Me,” “Mass Infection” and “Leaders of the Free World” slam in a Big Boys-ish manner although Mike Grayum’s vocal style is throaty and beefier (for want of a better term). They wrap it up with a cover of Cracked Actor’s infamous “Nazi School.” As with other Houston bands (The Energy, No Talk, Secret Prostitutes), punk is used a starting point but the PMRC refuse to fit any strict mold. Some heavy vinyl, too—210 gram!—and tucked inside a screened cover. Limited to a one-time pressing of 200 copies. (www.myspace.com/nocausepunk).

RKL-Come On In, The Water's Fine (Live At The Pound SF) (Malt Soda, 2 CD/DVD)
A pretty elaborate package for this band--two CDs of shows recorded in '04 and '05 and the 2004 one is also presented on DVD. RKL started out as a straightforward hardcore band from the legendary Oxnard scene and were eventually bitten by the metal bug by the time their second album "Rock 'n Roll Nightmare" came out. They were together up until the time of these recordings, except for a hiatus in the early 90s. Truth be told, the band's recorded legacy is pretty spotty and these live performances don't really change my mind. They play well, they mix up the set list and have a wise-assed nature but there are annoying elements--the late Jason Sears wasn't as funny as he thought he was and the thwacky finger-picked bass sound detracts a great deal.  In terms of sonics, the '04 recording sounds a lot better and the video is a multi-camera shot that would have been better if they'd lost the camera shooting from the audience. The '05 recording is inferior soundwise. There's actually an overarching sadness with the braggadocio about alcohol and weed use, given that Jason died in a detox clinic from pulmonary thrombosis not long after the 2005 show, their last performance. There's no sense of going through the motions, nothing pretentious but these aren't shows I would have felt badly about missing. (PO Box 617127, Orlando, FL 32681, www.maltsoda.com)

SWANN DANGER-s/t (Mess Me Up, 7" EP)
The starting point is between the Banshees and Bauhaus but it's just bass, drums and atmospheric effects. Unfortunately, Cynthia's vocals, kind of like a melodramatic Siouxie Sioux, become a detriment and it overshadows he two musicians' interesting, churning rhythmic attack. A rather large detriment, in fact, which is unfortunate because that basically sinks it. (1442A Walnut St., #419, Berkeley, CA 94709, messmeuprecords.com)

TIMEBOMBS-Mumbling (Cowabunga/Quiet Down Silence Death, 10")
More noisy 'n chaotic fodder and increasing both elements on this three song 10" EP. Howling, harsh vocals and a gnarled mess of feedback-spewing guitar, bass 'n drum clatter along with appropriately-harsh vocals. The b-side is a backwards track. Maybe there are some sort of subliminal tricks going on there but it's quite unlistenable. Pretty much the deal for this whole disc, unfortunately. I wouldn't expect any sort of melody here but any sense of structure is buried under the sonic howlings. (www.cowabungarecords.com)

VOMIT SQUAD-Amon Ra Bless America (Psychic Handshake, 12")
A complete mess... and an intriguing one at that. With the involvement of the ubiquitous King Khan, this is developmentally delayed (it's not PC to say retarded anymore) proto punk played, no doubt, with a sly grin. Tuneless, offkey vocals mixed that dominate the mix and playing that would seem to be willingly inept but if you listen closely, the simple melodies are executed quite competently . Beyond goofy--they offer up a punk version of the alphabet song. What's on their mind(s)? Conspiracy theories! Fighting Satanic forces! Rapture guns! And those buggers sneak in some pretty cool guitar effects for the song about that particular weapon. The kind of record you really have to be in the mood for but I can see that happening from time to time. (www.myspace.com/psychichandshake)

Suburban Voice blog #92

 VAASKA

BEST OF 2010

Happy New Year! Well, after a week or two of plowing through the past year or so of releases, which I consider December 2009 to November 2010, here's my 'best of,' not necessarily in any order although my two favorite 12"/LPs of the year were Double Negative's "Daydreamnation" and Vaaska's "Ruido Hasta La Muerte." Overall, I found 2010 to be a better year for records than the last few.

A few of the records below didn't get reviewed in the previous blog. So let me give the capsule reviews. I’m ashamed to admit I hadn’t heard of longtime Japanese band Genbaku Onanies before. Their album "Solid" is a rockin’ and rollin’ treat that embraces heavier rock as much as punk. Even a Minutemen/NoMeansNo bass pummel on one song and a cover of the Yardbirds' “Shapes Of Things.” Nothing typical here, going through various chord-driven permutations. Unfortunately, only available on CD from Japan and quite expensive. This should be more widely available. (Trippin' Elephant Records)

Heratys are quickly becoming one of my favorite current Swedish hardcore bands. A traditional approach and appropriately harsh vocals but the wall of sound is traded in for more of a stripped down feel. Relentless songs to pump your fist until you feel as though your arm will fall off. I’ll cut ‘em slack for the SHAMELESS plunder of “Ace Of Spades” on one song because this is a riveting album and the new 7", "Helvettiin Ja Takaisin" is just as good. You can get both the 12" and 7" from Havoc Records (www.havocrex.com) 

I reviewed a Secret Prostitutes 7" in a previous blog but just got their LP before the end of the year. Their 12", "Never Mind The KBD, Here's The ADD," has been a constant on my turntable and iPod ever since. 23 tracks that definitely sound as though it’s made for people with ADD and the hyperkinetic energy of these songs won’t alleviate it. A Houston band but drummer/vocalist Amit sings in Indonesian (!) and in high, nasally cadence. A ’77 spirit but not easily nailed down. The songs also have a garagier jitteriness at times. Unfortunately, there were only 400 copies pressed but check with their label Bad Hair Life anyway.  

... and now, the list...

LP’s and 12”

DOUBLE NEGATIVE-Daydreamnation (Sorry State)

VAASKA-Ruido Hasta La Muerte (US pressing: 540/Euro pressing: Hardware)

YOUNG OFFENDERS-Leader Of The Followers (Deranged)

GENBAKU ONANIES-Solid (Trippin’ Elephant)

THE ENERGY-The Energy’s First Album (Team Science)

EDDY CURRENT SUPPRESSION RING-Rush To Relax (Goner)CATBURGLARS-s/t (Criminal HERÄTYS-s/t  (Not Enough)

SECRET PROSTITUTES-Never Mind The KBD, This Is ADD (Bad Hair Life)

FLAG OF DEMOCRACY-Home Lobotomy Kit (Motherbox)

 

 7”s:

MANIPULATION-s/t (Fashionable Idiots)

CONFINES-s/t (Labor Of Love/Side Two)

ARCTIC FLOWERS-s/t (self-released)

SCEPTRES-Flatline Generation (Dire)

DRY HUMP-Culture Fuck Experience (Shogun)
SUNSHINE SS-Throw My Brain Against The Wall (Death Agonies and Screams)

Demos:

MURDER-SUICIDE PACT

ZERO ZERO

NINPULATORS

BOSTON STRANGLER
VACCUUM

VILE BODIES

Live:

SYSTEMATIC DEATH, TALK IS POISON, YOUNG OFFENDERS, SLANG, BASTARD, JERRY’S KIDS, NOMOS, THE TROUBLE, EDDY CURRENT SUPPRESSION RING, MALE NURSES, CONFINES, BLOODKROW BUTCHER, BRAIN KILLER, BUZZCOCKS

MORE RECORD REVIEWS:

COKE BUST

CIVIL VICTIM-No False Hope (Loud Punk, LP)

These guys, from Germany, had a 7" on Loud Punk a couple of years ago and things haven't changed much. Nothing-out-of-the-ordinary hardcore punk touching on both the early and late 80s period with a modern polish. "Workmares," for instance, has the sweep of Chain Of Strength. The tempos are mixed up here and there but it's your basic loud and fast fodder. Packed with enough throttling energy to keep me listening. (PO Box 3067, Albany, NY 12203, www.loudpunk.com)

COKE BUST-Lines In The Sand (Six Weeks, CD)

This disc collects Coke Bust's album plus comp, demo and 7" tracks. They're a good live band and have an incredible drummer in Chris Moore. On record, the hyper-space thrash doesn't always have quite the same effect although these guys are very tight and have some crushing moments, such as the mid-speed stomp of "Countdown to Death." Full-sounding production without any sort of slickness and it brings out Nick's pissed-off vocals and the hammering instrumentation in bold relief. (www.sixweeksrecords.com)

COLA FREAKS (2007)

COLA FREAKS-s/t (Hjernespind, CD)

Finally a debut album and an increasing emphasis on keyboards. That adds an experimental new wave (I guess) element to the nervy guitar/punk mesh. "Sniper" comes across like a slightly more accessible, guitar-driven Screamers. The whole thing is reminiscent of some of Jay Reatard's expansive body of work. In fact, a couple of these guys played in Jay's band before his untimely passing. An evolution into new regions but maintaining the engaging nervousness that's always been part of the Freaks' sound. (PO Box 505, 2200 Copenhagen N, DENMARK, www.hjernespind.com)

DE HOJE HAELE-Skal Vi Aldrig Vidre? (Hjernespind, CD)

And another Danish band on Hjernespind. De Hoje Haele have a taut, pubby punk sound (as in pub rock) played with a farily light touch. The songs are catchy and engaging at times ("Hak Hak Hak" and the snappy "Udan Ilt," in particular) and the playing much more than adept but it only sporadically sparks into anything beyond that. It's probably a case where I'd like them more in the live setting and there are enough good songs that make me keep it around but not much beyond that. (PO Box 505, 2200 Copenhagen N, DENMARK, www.hjernespind.com)

FEAR OF TOMORROW-No Fucking Future No Way (Charged//Distorted, 7" EP)

You probably get a pretty good idea of the not-so-chipper subject matter with the record's title and the anger is conveyed through both the words and gut-bucket buzzin' crust thrash attack. The production is a tad muddy but the songs are merciless in their ferocity. Doomsday artwork by Chany from Inepsy that, once again, matches the mood. (PO Box 21530, 1424 Commercial Dr., Vancouver, BC V5L-5G2, CANADA, distortvancouver@hotmail.com)

INERDS/COWORKERS-Split (Feral Ward, 7" EP)

Two abrasive bands. Inerds have a lower-tuned, crusty sound with nasty male/female vocal tradeoffs with straight-forward thrash and blast rhythms. Sad to say, this is rather tuneless fodder. Coworkers are a bit more interesting with strong instrumentation but their mix of 90s era screamy hardcore with the occasional grind touch comes up lacking, as well. (www.feralkidrecords.com)

I OBJECT-Save Yourself (Feral Kid, 7" EP)

First new music for this band in quite sometime and recorded as a three piece, with Biff playing both guitar and bass and he's quite proficient on both and generates a fiery wall of sound. Three blistering songs--the thrashy "Savior," mid-tempo "Taboo" and a hammering cover of the Screamers' "In A Better World," which obviously takes on a different dimension with the addition of non-keyboard instruments. And quite a colorful cover, as you see... Glad to have 'em back. (www.feralkidrecords.com)

MAYDAY!-s/t (Feral Kid, 7" EP)

Scrappy surf punk with somewhat overbearing vocals and that kind of wrecks things here. Actually, it makes it rather excruciating. Too bad because there are a few intriguing musical ideas, such as the slower, intense segment for "Blud Beach." Not enough, though. (www.feralkidrecords.com)

NUCLEAR FAMILY-s/t (Loud Punk, LP)

Albany's Nuclear Family have just called it quits but leave behind their first and final 12" release. Jen packs every ounce of passion that she can muster into her vocals. There's a danger of overwhelming the songs and while a little goes a long way, it's an integral element and ends up being an asset instead of a liability. Her exclamation of "THEY JUST WANT YOUR MONEY!!" for the TV evangelist critique of "Believer's Voice Of Victory" will make your hair go back like in that old Maxell ad with the guy sitting in front of the speaker. Driving and melodic compositions that hammer home strong rock hooks. Going out with a shout and that's true in both a literal and alliterative sense. (PO Box 3067, Albany, NY 12203, www.loudpunk.com)

PATH OF DECAY-s/t (Ha-Ko Bastards, CD)

Surging, beefy punk with plenty combined with beefy vocals. This Serbian band sound as though they've learned a few lessons from Pegboy, Pedestrians and Naked Raygun. Maybe that's not intentional but it comes across that way at times and you won't get any complaints here. ""Repent" takes a thrashed-out turn but that's the exceptions to the balance of the material. The songs rock hard with commanding riffage and a rhythmic punch. (www.myspace.com/hakobastards)

PREGNANT-s/t (Burn Books, LP)

Some original, non-predictable rock. Kevin Manion has a gruff style in the manner of John Reis from Rocket From The Crypt. It's not party rock but disarmingly catchy in spots--the poppy, but jittery melody of "Help" and the soothing chorus for "Safe & Sound," for instance. "Wormie" has a harder-edged drive that borrows a little from the Who's "My Generation." "You Give It To Me" actually sounds like a cross between a horn-less RFTC and one of Mr. Reis' other bands, Hot Snakes. So does "Toothache," for that matter. A pleasant surprise, a record whose charms envelop you with repeated listening. (burnbooks.org)

RED RED RED-New Action (Big Neck, CD)

This Detroit band has Piranhas drummer Ryan Sabatis handling vocals, manning the axe and adding the occasional bit of Fun House sax-squawk. A heady collection of fired-up rock ‘n roll, punk and garage with a nod to Ryan’s musical heritage but adding other elements. “Greatest Hit/Regeneration,” a quick medley of two songs, careens with whizzle-singe guitar coming in somewhere between The Users' “Sick Of You” and you-know-who’s “Raw Power” (the song, not the album). The distorted vocals are part of the mix instead of dominating things and tuneful touches emerge from time to time, such as the chorus of “Another Plane" or guitar line of "It Never Ends." Boisterous and having an air of atonal unpredictability to go with the rock. (Big Neck, PO Box 8144, Reston, VA 20195, www.bigneckrecords.com)

SPECTRES/ARCTIC FLOWERS-split (Charged//Distorted, 7")

Each band draws on early 80s post-punk influences but does it a slightly different way. Spectres' track, "Pattern Recogntion," incorporates synth into a driving punk gnash. Arctic Flowers follow up their excellent 7" with "Rats In The Walls," another forceful, hauntingly melodic song.    My copy is pressed off-center and it took some effort to get it set on the turntable so it wouldn't sound wobbly. Completely worth the effort! (PO Box 21530, 1424 Commercial Dr., Vancouver, BC V5L-5G2, CANADA, distortvancouver@hotmail.com)

SUNSHINE SS-Throw My Brain Against The Wall (Death Agonies and Screams, 7" EP)

The front cover of this record is rather disturbing, involving a syringe, a male appendage and I think I'll just leave it at that. Get past that and this is an impressive debut by this NC punk band. Plenty of punk snottiness but also elements of Black Flag, particularly on "For Your Consideration." The vocals remind me of Al from the Pist. Ain't no sunshine, just burn. (PO Box 19555, Asheville, NC 28815, deathagoniesscreams.wordpress.com)

VAASKA-Ruido Hasta La Muerte (Hardware, LP)

This is the Euro pressing for Vaaska's second 12" and it's actually a 'two-fer,' with the band's debut platter pressed on the other side ("Ruido Hasta.." also came out on 540 in the US). In the d-beat realm, Vaaska are one of the more distinct bands plying this style. That mainly comes from the warm, subtly melodic quality to the guitar tone and that’s fused to the band’s straight-on-wallop. Piercing leads are added to the charging fray and show off incredible chops without dominating the proceedings. I wouldn't say the songs are hummable but a track like "Destruye" certainly worms its way into your consciousness. A formidable ripper. (www.hardware-records.com)

ZERO ZERO-s/t (CD demo)

Not to be confused (thankfully) with the awful US band that included Ari Katz from Lifetime. Surging, slamming punk from these Brazilians. They do suffer from a pretty bad case of vocal overkill as Juliano wails over the band's driving compositions, sometimes punctuated with whoops and yells. Nothing to fault musically, though. A half-dozen hard driving, jolting songs riding the line between hardcore and semi-melodic inclinations. If you can get past the vocals (and it's tough, sometimes), Zero Zero have an attention-grabbing sound. (www.myspace.com/zerozerospace)

Suburban Voice blog #91

REISSUES AND SUCH
A plethora of reissues, anthologies and like have been crossing my desk lately. That sounds so pretentious--does something really cross a desk? Does it really come through my mailbox? Sure, some music gets piled up on my desk but it's not in motion. Am I being too literal? Should I move on to the reviews? Not a bad idea...

I'm going to begin with a DVD. There haven't been a ton of archival releases from the early Boston punk/post-punk/etc bands. Mission of Burma and Unnatural Axe have been documented, there's the upcoming early 80s Boston hardcore documentary "xxx All Ages xxx" scheduled for next year but not much else. La Peste were one of the earliest Boston punk units, a three-piece who slammed out such memorable  ditties as "Kill Me Now," "Don't Wanna Die In My Sleep Tonight" "Spy Master" (later covered by Jerry's Kids) and the infamous "Better Off Dead," with the classic line "that girl's only 13/she ain't never given head." Nasty, for sure, with a buzzing, jabbing no-nonsense sound, although they could take poppier turns with a song like "Color Scheme" or lighter fare like "Let Me Sleep." Not your standard-issue KBD fodder--there was something of a UK bent here.

This DVD, shot in black and white at the Paradise in Boston in 1979, is fairly no-frills in terms of packaging but the multi-camera shots and creative effects successfully capture LaPeste's burning, driving sound. Actually, there was some "cheating" involved according to Jan Crocker, one of the filmmakers. In a recent interview with Boston Groupie News, he said that the audio came from a show at the Rat and the footage of the pogoing audience came from other venues. All things considered, he did a good job making it look seamless.

Extras? Some conceptual videos mixing live and studio performances with photos and other imagery and a picture gallery with songs that aren't included in the live set. It gives you a feel for what Boston punk was like ca. '79. (www.kinodv.net)

Dischord Records have dug into the vaults. (Actually, is there really a vault? Or were they tapes on a shelf or in a box? GET ON IT WITH IT, AL!). The CD Dag With Shawn is the original 1985 Dag Nasty demo with Shawn Brown on vocals. Most of this material has circulated over the years, most notably as part of a 7" box set on Selfless Records. On this disc, there are 9 tracks and all but one ended up on Can I Say, with Dave Smalley on vocals. Shawn's agitated emanations aren't always well suited for the material--he struggles on "Circles," for instance. But the angry, impassioned delivery gives a grittier edge to these well-known compositions. Shawn really came into his own for Swiz (who don't always get the acclaim they deserve) but these remastered recordings are well-worth hearing.

Meanwhile, Government Issue's Boycott Stabb has been appended to include an entire side of outtakes. This was the band's 12" debut, following the Legless Bull EP and their appearance on Flex Your Head. (The Make An Effort EP was actually recorded before the album) and marked Tom Lyle's shift from bass to guitar. Blistering hardcore with a fuller sound and improving musicianship. The version of "Sheer Terror" here adds some twisted effects and vocal manipulations, stretching out over three minutes and featuring some blowtorch string bending. I've heard this record so many times over the years, I assume everyone else has and those are the hardest reviews to write since they're so embedded in my consciousness. Boycott Stabb doesn't offer any indication of the melodic elements that would eventually emerge, starting with Joy Ride, but it's unquestionably a leap from the early recordings. As for the outtakes, most of them are re-recordings of songs off the two EPs and compilation, complete with studio banter that gives insight into the creative process ("I can't do it fast because I just wrote the words") and Stabb's more mannered vocals that don't always work as well with those tracks. The only previously-unheard songs are "Snubbing," which would have fit in on the album and the piss-take "Georgetown Blues," which we should be grateful wasn't on the original. Look at the original record as a classic and the bonus songs as something to listen to once in awhile.

Government Issue's tenure extended into the late 80s. Artificial Peace's existence, on the other hand, only lasted a year from '81 to '82 before 3/4 of the members moved on to form Marginal Man. Only three songs were "officially" released, on Flex Your Head, although the other 14 songs appeared on a 1992 Lost and Found disc that also had Marginal Man's Double Image album. But here it is with a fresh remaster and these guys bang out some credible "of-its-time" hardcore. The three songs that were picked for Flex were their most accomplished, especially the guitar intro for their theme song "Artificial Peace." I can live without the cover of "Wild Thing" and they weren't really on the level of Minor Threat or Void but they certainly held their own. Glad to see this get a "proper" vinyl release. (Dischord, 3819 Beecher St. NW, Washington, DC 20007, www.dischord.com)

Fraticide, from Vancouver, were supposed to have had a split 12" release with Dutch band Neuroot in the mid-80s on Pusmort but it only reached the test pressing stage. Some 24 years later, their tracks from the split have come out on a release from Schizophrenic and Ugly Pop Records. This fits in well with the crossover sounds of that era, albeit coming from the hardcore side of the aisle. Thrashin' aggro with red hot metallic riffs and leads and scampering drums. Jonzo (who, in recent years, has been with Hong Kong Blonde) has a raspy, phlegm-projecting style along the lines of Blaine from the Accused. The faster songs have the same flailing tumult as that band or Heresy. Never losing control--about the time you think it's gong to fly apart and create a hail of iron shards, they shift into pounding mid-tempo mode. Exactly the kind of music Pushead lauded back then and you wonder why it never came out. It's a moot point, now. (Schizophrenic, 17 West 4th St., Hamilton, ON, CANADA L9C 3M2, www.schizophrenicrecs.com)

The debut release from Chris Prorock's More Than A Witness Product label is Connecticut band CIA's God, Guts, Guns, with the original 1983 7" expanded to a full LP with outtakes, earlier demos, rehearsal and live stuff. Shredding hardcore for the most part, although catchy punk roots are exposed on a song like "I Hate The Radio." That song was later recorded by 76% Uncertain, a band that included most of the members of CIA (a few more outtakes also resurfaced with 76%). CIA actually started out as more or less a traditional punk band but caught the hardcore bug and started playing loud and fast. An all-time classic? No, but this is still above-average hardcore from that bygone era. (3 Webster Place, Newtown, CT 06470, morethanawitnessarchive.blogspot.com)

Our Gang were a late 80s NYC hardcore band who recorded three sessions at Don Fury's studio in '88-89 but didn't have a "proper" release except for the Uprising demo tape. More than two decades later, those sessions have been compiled on a 12" disc entitled, oddly enough, Uprising. Truth be told, this is pretty much second tier NYHC. Scampering thrash with vocals that try to squeeze in as many words as possible into the musical contents. Eschewing the youth crew trappings of the era for something more along the lines of the punk-driven hardcore bands of the early 80s. They've got the right idea at times but it doesn't always gel. (Jack Roy Records, jackroyrecords.blogspot.com)

Finally, Philly band Pagan Babies were one of the bands on Hawker Records, the short-lived hardcore imprint distributed by Roadrunner that also released records by Wrecking Crew, Rest In Pieces, No For An Answer and Token Entry. Their Last: An Anthology gathers all of their studio recordings including songs from their Next album on Hawker, an early 7" on Positive Force, live tracks, unreleased songs, etc. It's packaged with a DVD documentary where the band members revisit their old haunts and it's interspersed with live material from 'back in the day' and from a 2007 reunion show. Semi-tuneful hardcore with tasteful metallic leads and skate punk roots along the same lines as Token Entry. Enjoyable, even if it's showing its age a bit. (DRP Records, PO Box 6257, Wyomissing, PA 19610, www.drprecords.com)

... AND THE REST...

CONFINES

BAD AMERICAN-s/t (Bad Recordings/Discontent, 7" EP)
Pissed-off hardcore from Bethlehem, PA. I imagine if I lived in Bethlehem, PA, I might be pissed-off too. Well, more pissed-off than I already am. This is raging hardcore that thrashes about half the time and pounds away at a slightly slower pace the rest of the time. "Rodent" has a pretty sinister, noise-drenched intro before picking up the pace and it comes across like early stuff from Total Abuse. Did I mention they sounded pissed-off? No sarcasm, here--I like this band's pissed-off sound. Oops, there I go again. (852 N. Clewell St., Bethlehem, PA 18015, www.myspace.com/badamericanpunk)

BLOODTYPE-s/t (Cowabunga, 7" EP)
Anti-social. Not here to make friends. As Bloodtype start blasting away on "Dropout," it's clear that they've found it difficult not only dealing with the outside world but even the hardcore subculture drives 'em nuts. Blazing hardcore that occasionally loses its way with the speed but when they pull it together, especially for "Welcome To Hell," the hair-trigger aggro is quite successful, building on the chord progression of "In My Eyes." Pure hate delivered with buzzsaw rage. (www.cowabungarecords.com)

CONFINES-Withdrawn (Labor Of Love/Side Two, 7" EP)
Newish Boston band including people from Cut The Shit, Blank Stare and other bands--Ryan Abbott, who has played drums in a number of bands, handles guitar duties here and the vocalist is Andrew Jackmauh. An intense package, both from a musical standpoint, as well as the visual/written elements. For the aural component, this is a ravenous, brutalizing hardcore sound with some Ginn-ish guitar lines and powerful arrangements that incorporate thrash and cascading bash. As for the latter, there's a foldout poster sleeve that includes the lyrics but also a two panel hand-written treatise of sorts with a somewhat over-intellectualized verbosity (there I go!) that might provide difficult reading for some. A detailed analysis would have us here all day but the gist of it (as well as in the lyrics) displays tremendous outrage and disappointment not only with the continuing ascent/re-emergence of regressive political policy but there's also a scathing critique of people involved in punk and hardcore--pointing out that there seems to be more concern over social acceptance and a ready willingness to conform to what's accepted. In the meantime, the world is collapsing, the political situation is fucked up and the author wonders where the outrage went. The critique turns inward, as well. That's just a simplified take on things and I'm sure I left something out. But, ultimately, even if you have trouble following the text, there's no missing the agitated vocals and unsettling music. I imagine the national election results will only increase the intensity next time around. I look forward to it... (56 Pearson Rd., #2, Somerville, MA 02144, ittsalaboroflove@gmail.com or 6 Wadleigh Place, Boston, MA 02127, sidextwo@gmail.com)

THE ESTRANGED-The Subliminal Man (Dirtnap, LP)
Things are perhaps a bit more polished for the Estranged on their second album but that shouldn't be construed as a softening in sound. There's always talk of how much this Portland band is influenced by the Wipers--and it shows up in some of the guitar lines, no doubt. There's no missing the Sage-isms for "Statue In A Room," previously released as a single (this is a new version, though) and it's the strongest track here. Haunting, hooky, propulsive and emblematic of the musical synthesis they've created during their existence. The other aspect of said synthesis is what was good on the other side of the Atlantic during the emergence of post-punk during the late 70s/early 80s. There's the melodic yet intense emotionalism of the Sound and, as I've mentioned before, strains of early Cure and Banshees. I hate to be repetitive but that's still accurate. As if to prove my point, they cover the UK band the Flys song "Love And A Molotov Cocktail"--and the 1977 original was post-punk that was ahead of the curve. And while I've spent half this review mentioning other bands' influences, I'm not being trite (honest!) in saying these guys have found their own identifiable sound and the songwriting/musicianship to back it up. (2615 SE Clinton St., Portland, OR 97202, www,dirtnaprecs.com)

INSUBORDINATES-s/t (Cowabunga, LP)
Not sure how the surfing is in Rochester, NY but the Insubordinates' music displays an affection for that style of music, with a punk twist. Two of the songs are instrumental and sax is sporadically added to mix, although it doesn't dominate the arrangements. Other times, they go for a thrashy hardcore approach or a darker, heavier sound on "Cuckoo Cass E." The best song here is "River City R'N'R," a solid west coast punk tune and "Hipster County" works well in a similar vein. Not a bad effort although there are only a few songs I keep going back to. (www.cowabungarecords.com) 

LADIES

LADIES-Six More Reasons To Hate... (Grave Mistake, 7" EP)
Third 7" already by this Richmond band fronted by the infamous Tony Bitch. This is semi-tuneful punk/garage/thrash. I imagine a few of you might be offended by the front and back cover and some of the lyrics but it's not completely over the edge. OK, maybe a bit. Think Dwarves around the time of  "Sugar Fix" and you'll be on the right track. That's the "sensibility" here and they've got it down pretty much perfectly. (PO Box 12484, Richmond, VA 23241, www.gravemistakerecords.com)

LAPINPOLTHAJAT-s/t (Hohnie/Roku/multi-label, LP)
Every time I play this Finnish band on Sonic Overload, it's always a challenge to pronounce it. That's an ongoing thing because I like this record and it's been getting a good amount of airplay. These guys definitely mine their country's hardcore heritage, a sound that's both muscular and melodic. There's plenty of presence without being overly heavy-handed. No metallic blowtorch effects here--guitar burn but a more tasteful selection of lead licks, along bass playing and drumming that relies as much on finesse as force. Lapinpolthajat let us know that classic Finnish-style hardcore is alive and well. (www.hohnie-records.de or www.rokurecords.com)

LOSE THE TUDE-s/t (Sacred Plague, 7" EP)
I'm not sure I'd exactly call these guys posi-core but the band's name and a song like "Give A Shit" make me think of RKL's "Keep Laughing"--THINK POSITIVE! Enjoyable, energetic hardcore with instrumental dexterity and keeping things upbeat although I'm tempted to lift the needle before the concluding minute-plus free form sonic collapse of "Fleas." Speaking as the jaded type of person they're trying to avoid becoming, I still like the 'tude here. (www.losethetude.tumblr.com)

NO PROBLEM-Your Eyes (Handsome Dan, 7" EP)
Graeme from the Wednesday Night Heroes fronts this new band, adding guitar to his vocal duties. Four solid tracks of gut-punching, catchy punk. The two guitars give the band a beefy presence, to accompany Graham's passionate emanations. It's not far removed from what the Heroes did, maybe a little less blatantly poppy save the chorus of "Your Eyes." (3244 31A Ave. SE, Calgary AB, CANADA T28 0HB, handsomedanrecords.com)

SPASTIC PANTHERS/THE THROWAWAYS-Split (Handsome Dan, 7" EP)
For their second release (I think), the Panthers continue to ply spirited hardcore punk with a decidedly non-serious bent, exemplified by "(I'm Gonna) Punch You In Dink." Well, maybe they're dead serious about it. Not bad, if fairly routine. The Throwaways have a garagier approach, two of 'em with a hardcore sound, two of 'em on the poppy side--"Mikey Erg!" even sounds Ergs-ish, albeit rougher. Once again, not bad, maybe a little less routine than the Panthers. (3244 31A Ave. SE, Calgary AB, CANADA T28 0HB, handsomedanrecords.com)

 VILE BODIES

VILE BODIES-s/t (Razors and Medicine, tape)
Vile Bodies is essentially a continuation of the Conversions, with the musical core of that band joined by vocalist Jeff Walker (Sleeper Cell/Balance of Terror/Bloody Gears). The modus-operandi remains the same. Challenging, dynamic music that works in straight hardcore with noisier/atonal elements, often within the same song--"The Healer" is one such example. The playing exhibits a tremendous amount of skill as they effortlessly maneuver through the different musical aspects. As with Terry Cuozzo, the Conversions vocalist, Jeff offers a howling approach that syncs up perfectly. Complex but not so much that it dilutes things--Vile Bodies are very much a hardcore band but without the standard trappings. (vilebodieshc.blogspot.com)

WORMEATERS-Wardeath (Sorry State, 7" EP)
Well, there's nothing as graphic as the forced prison sex lyrical theme for "Dutch Roulette" that was on the Wormeaters' previous 7" but they haven't gone pop or anything nor have the lyrics gotten any sunnier. Nope, not a chance. Blazing, angry, fast-paced hardcore, although there's the slower, equally crazed "Scabs" to wrap things up. There's a new vocalist, PJ, whose pipes are as nasty as his predecessor, albeit higher on the timbre scale and, to be honest, he's an improvement. Best stuff to date. (www.sorrystaterecords.com)

ZERO PROGRESS-Derailed (Piledriver, 7" EP)
As I read through this band's lyrics, it's apparent that things don't change too much with hardcore bands--well, the ones who use this musical style to express their venom at what causes life's turmoil, what pisses them off. Zero Progress are no different. Positively negative (not original, I know) and pounding out the fast hardcore the same way countless bands have done it for three decades. Passable, but that's about it. (antiprogrock@gmail.com)

Suburban Voice blog #90

 PYROKLAST

Same old story--I don't review records on a timely-enough basis, they pile up and multiply, I do what I can to at least play them on the radio show but the blog gets neglected. Lack of motivation, procrastination. Excuses, excuses I know. And then I look at some of the past print issues of SV and wonder how the hell I did that. It must be because I was younger and more ambitious. Well, enough of that. I've kept y'all waiting two plus months so it's time to at least publish something. No promises as to when the next installment with be. Bear with me--and enjoy the blog.

Also, my radio show Sonic Overload has a new site at www.sonicoverload.net. Same show, but now with stereo sound quality (128 kpbs for the more technically-minded out there). Think of it as a version of Suburban Voice where you can actually hear the music first.

'Til next time...

ANTIDOTE-Thou Shalt Not Kill (Bridge Nine, 7" EP/CD)
A long overdue reissue of one of the high-water marks of early 80s New York hardcore. There was a CD on Hellbent Records in '04 but even that's out of print. Pure scorch packed with speed and rawness and catchy, memorable songs—especially “Real Deal” and “Life As One.” Granted, the lyrics for “Foreign Job Lot,” about them pesky “aliens from another world” who come to the US and take up all the jobs are on the dicey side and that could be a sore point with some people. The same applied to Agnostic Front's "Public Assistance.” And like AF with “Fascist Attitudes,” these guys have their own song in that vein, “Nazi Youth.” In this day and age of scapegoating of undocumented immigrants, maybe I shouldn’t give them a pass, maybe it’s fencewalking but there’s no denying this record is completely blazing. Faithful to the original, maybe a little less “bright” production-wise than the first pressing (you won’t notice, anyway) but its reissue is long overdue. (www.bridge9.com)

AUTISTIC YOUTH-Idle Minds (Dirtnap/Black Water, LP)
The second album from Autistic Youth has them continuing to play the kind of tuneful punk that their hometown of Portland, OR has been spawning in recent years. Not as post-punk inspired at the Estranged nor as mannered vocal-wise as Red Dons (reviews of both can be found below) although the melody quotient is high. Sonically, Autistic Youth are akin to the latter band. They follow a driving, burning blueprint working in classic 80s west coast punk influences and plenty of emotional gravitas in the lyrics. The minds are hardly idle, they're filled with plenty of intense thoughts--the title track is particularly direct about the feelings of despair. Definitely not happy-sounding music but the energetic surge doesn't devolve into primal screamo therapy nor completely somber wallowing. Strong vocal harmonies, potent musicianship (especially the bass playing), quite lively-sounding. (PO Box 5223, Portland, OR 97208, www.blackwaterpdx.com or www.dirtnaprecs.com)

CONCENTRATION SUMMER CAMPS-Amour Et Sourires (Trabuc, 12")
The band's name might make you cringe but how can you not be drawn to the colorful, psych-o-delic cover as shown above. Looks are deceiving although the final song, "Coffee and Coke," is an extended garage/psych mind-messer. The rest of the time, CSC specialize in hardcore punk with tunecraft and drive. Innovative guitar playing--a little East Bay Ray here and there but there are other things going on in the sonic mesh. And it should be noted that "Discharge Were Right" doesn't sound anything like Discharge, although the words confer with the band's worldview. No easy pigeonholing here and that's a refreshing asset. (PO Box 160, -46740-, Carcaixent (Valencia), Spanish State, www.nodo50.org/trabucrecords)

DISPARO-s/t (Stomp/Trabuc, 7" EP)
The first song, "No Quiero, Ser Como Tu," comes off fast and heavy at the outset but those aren't the only tricks this Spanish band possess. Burning, semi-melodic songs along the lines of No Hope For The Kids or a Pedestrians-type stomp. In fact, speed is kind of an anomaly here--the songs stick to a mainly moderate speed. In Spanish with English translations and willing to provoke, such as "Estrellas de David," about Israeli aggression, which probably won't win them much of a Zionist following. I imagine Disparo would have little problem with that. (PO Box 160, -46740-, Carcaixent (Valencia), Spanish State, www.nodo50.org/trabucrecords)

DOUBLE NEGATIVE-Daydreamnation (Sorry State, LP)
It's been three years since Double Negative's debut album, my album of the year for 2007. They were also my favorite live band that year--you could compare it to Ichiro winning Rookie of The Year and MVP in his first year. For their second album, the band have one again appropriated the name of an 80s era album (The Fall last time, Sonic Youth this time) but the only commonality I can find with the latter are the brain-melting atmospherics. While the band's rampaging approach remains, they've pushed things into slightly less-predictable realms. The production is hazier, denser, for want of a different term, and Kevin's vocals deeper in the mix. He also widens his range, with a lower register howl for "Endless Disappointment"--and let me make the one COC comparison here--it's Mike Dean-esque. There's an explosive experimentalism without being pretentious about it. Die Kreuzen-ish haunt shows up in some of the guitar lines and there's also a kinship to some of the ferocious Amphetamine Reptile bands from the 90s, Hammerhead in particular. That band had an aggressively piledriving sound but you couldn't really lump it in with standard hardcore and DN's sound takes that sort of chaotic, frayed sound, propelled by a rhythmic wallop. "Beg To A Vile Nude," for instance, lurches along like the punishing slop from that period until the speed-burn conclusion. There are so many generic bands out there and Double Negative find a way to stand out. They did it again... this will, without question, be in my top 10 of the year. (www.sorrystaterecords.com)

EVERYTHING FALLS APART-Ghost (EFA/One Percent Press, 7" EP)
WHITE WHALE-s/t (self-released, 7" EP)
I'm reviewing these together because there are some of the same personnel involved, namely Pat Shanahan and Derek Raybeck, who play in both bands. There's a restless quality to each group. Everything Falls Apart put out a pretty solid album this year and neither of these songs really match the high points of that release. "Ghost" is a sturdy mid-tempo, semi-hooky rocker while "Brace Position" degenerates into frayed, sputtering chaos. Heady and a little more interesting sonically than "Ghost" but it doesn't really stick with you. As for White Whale, their debut 7" is quite good. They have a burning hookiness--"1995" could be from 1995 and performed by New Sweet Breath, with the same sort of fevered surge and vocals that have emotional and gutteral qualities. In my review of their previous demo, I mentioned some similarities to Gaunt and I don't think that's off the mark, either. Melody without the pablum. (23 Manchester Pl., Buffalo, NY 14213, www.everythingfallsapart.org, www.thepalewhale.com)

FAGGOT-s/t (Selfish Satan, CD)
Excessive and depraved in more than a few ways, starting with the "Penis Landcape" tribute on the cover. This is raw rawk with a garage and punk edge that sounds messy and often unhinged. That's particularly true on the 11 minutes of endless musical butchery for "Black and Blue," the grand finale to this 8 song disc. Apparently, it's the live thing with Faggot--the photos make 'em look like a homoerotic combination of GWAR and GG Allin and I think I'd probably wear older clothes or stand towards the back if I was at a show. On a purely musical level, this is some blistering fodder. The fuzzed/blown-out guitar on the likes of "The Cleaner" and "You're Dead," the latter with some formidable string torture towards the end, is the most appealing element. If Faggot are out to provoke (and it's pretty obvious they're trying to do that by the name of the band alone), they do a pretty good job of it. They do a pretty good job at rockin' hard, too--and yes, the pun is intentional. Incidentally, there's also a video for "The Cleaner" and let's just say it doesn't leave a lot to the imagination, nor is it really for the kids. (www.selfishsatanrecordings.com)

GAS CHAMBER-s/t (Warm Bath Label, LP)
The record starts with the sound of static--industrial experimentation? Not exactly, although those elements reappear from time to time. Nope, it's a gateway to spasmatic, scampering thrash emanations. Howling vocals, all-over-the-place drumming, blistering guitar but the thing that really stands out is the dexterity of the bass-playing. If only it held together better. Gas Chamber have energy to spare but would benefit from tightening things up. Not completely rein things in but gain some control over the mayhem. As it stands, the band's chaotic flail is still partially effective but room for improvement, as they say. (PO Box 652, Buffalo, NY 14215, www.myspace.com/warmbathlabel)

INSERVIBLES-s/t (Shogun, 7" EP)
A vinyl pressing of this Mexican band's 2008 demo and it's pretty wild. Reverb-drenched vocals and a kinetic hardcore sound taking an 80s-era Italian route despite their geographic locale. Lyrics are in Spanish but there are handy descriptions of the songs--who would think "Risa de Puta" would be about quantic (sic) physics and pizza. Their theme song "Inservibles" is about "girls laughing at us because we are really ugly." I have no idea if they're fibbin' or not, since I don't speak the language but the guy could be spitting out the weather report and I wouldn't know the difference, just that the band have an engaging craziness. (3 rue du Lavoir, 51140 Bouvancort, FRANCE, www.shogunrecordings.com)

LACKEY DIE-s/t (Feel It, 7" EP)
Lackey Die were from Charlottesville, VA, together from '82-'86, never releasing anything during their tenure. Some 25 years later, here are recordings taken from two sessions, one in '84 and the other in '85. According to the printed interview and letter that accompanied the record, they were older "townie" guys in a college town and, obviously, that leads to friciton. Anyway, after being in other bands since the late 70s, the members caught the hardcore bug and started playing in a faster vein. Pretty standard in every way, with the thrashy delivery and lyrics that touch on religion (even stealing a lyrical line from Minor Threat's "Filler"), nuclear warfare and personal alienation. Not a lot of vocal presence but played with a good amount of scrappiness. (4630 Mill Run Ln, Earlysville, VA 22936, feelitrecords@gmail.com)

LIBYANS-A Common Place (Sorry State, 12")
A brief blast from Libyans, packing in 13 songs in 16:21, give or take a second. For their second album, guitarist Kevin Gebo handled the recording and it's kind of tinny and distorted sounding. Once you get past that (and I'm not 100% past it), this is a solid effort. Sharp, frantic, economical hardcore with melodic underpinnings and Liz's vocals are cutting and sweetly emotional and it's usually a combination of both although they lean towards the former. Plying west coast elements in much the same way some of the Danish bands do but you can also hear mid-80s DC hardcore--Dag Nasty in particular--in the mix. The lyrics are printed with circular text so it's dizzying if you try to read them, exacerbated by the head-rush these songs provide. (www.sorrystaterecords.com)

MURDER-SUICIDE PACT-Do It Or Don't (Give Praise, 7" EP)/Full Time (Bacon Towne, 7" EP)
MSP re-formed in the past few years and, as I mentioned in the review of a demo CD from last year, they sound better now than back then and that's no bullshit. The songs from these two EPs are pulled from the same December '09 session and most of these. Feisty mid-tempo hardcore, with some thrashers mixed in, as well, and there's a dark/twisted quality to it. "I Respect You and All Your Body Parts" certainly proves out that point by offering a sick love poem--very sick, as in murderous. The thing about MSP is the guitar lines have a way of embedding themselves into your consciousness--the line for "Heavy Hand" is ringing through my brain at the moment. Black Flag-inspired? No doubt but a song like "My Own Poison" also conjures up Swiz. Bob Suren's vocals convey the requisite menace and the production is punchy without any sort of slickness. Collect the whole set--well, the two installments here, at least. (Band contact: PO Box 3204, Brandon, FL 33509, www.myspace.com/mspfl)

NASA SPACE UNIVERSE-Brainrailers (Shogun, 7" EP)
A wild collision of speedy hardcore, Flag-ish twists and off-kilter craziness, including some harsh vocal screamitude  "BWAP," the opening track on the flipside, showcases some rockin' furor, as does "Bukkake Sake," something I hope to never imbibe. Hell, I don't even like regular sake. I like this band's jolting sound, though. (3 rue du Lavoir, 51140 Bouvancort, FRANCE, www.shogunrecordings.com)

NO ESCAPE-Generation Trap EP (Trabuc, 7" EP)
Spanish band with a melodic, mid-tempo punk sound along the lines of Insomnio, who've also had releases on Trabuc (and No Way in the US). I mentioned a No Hope For The Kids influence in the Disparo review above and that's true here as well. Buzzing guitars and sturdy, lively bass-playing/drumming although it doesn't make an exceedingly strong impression overall. Falling into that "pretty good" realm. (PO Box 160, -46740-, Carcaixent (Valencia), Spanish State, www.nodo50.org/trabucrecords)

NO FRIENDS-Another Wrong/OFF WITH THEIR HEADS-Fields Of Darkness (No Idea, 6")
Two bands covering other bands, but not each other. No Friends, Tony from Municipal Waste's punkier sounding band, do a decent job of Dag Nasty's "Another Wrong, ditto for Off With Their Heads' take on Pegboy's "Fields Of Darkness." Probably something for the collectors but the songs are handled with energetic affection, particularly No Friends. (PO Box 14636, Gainesville, FL 32604, www.noidearecords.com)

 RAW NERVES

RAW NERVES-s/t (Inimical, LP)/We Must Be Dreaming (Inkblot, 7" EP)
The two latest releases (following an earlier 7") by Portland's Raw Nerves, continue to convey a combination of influences—echoes of Poison Idea (particularly in Matt Svendsen’s voice) and Articles Of Faith but it’s got a crustier tinge that’s in kinship with their Oregonian compatriots. As you’d expect, there’s a dim view of the current state of world affairs. “Slave Trade,” for instance, ruminates on economic exploitation and collapse, while those being exploited still fly the flag and think these corporate interests will be their saviors. Sound familiar? Yep, I’m making another allusion to Teabagger Nation, those who are manipulated by those “leaders” and organizations into foolishly believing in the “take back America” gospel. There’s a reliance on dramatic effect and pure power over catchy verse/chorus/verse arranging but it has the intended result. I mentioned Poison Idea earlier and “Lifetime Guarantee,” the opening song on the Dreaming EP does have some similarities. The EP also includes a cover of Youth of Today's “Live Free,” which was a highlight of their Boston show over the summer--a set which a lot of the local DIY elite chose to stay outside for. Oh well--their loss. (Inimical, PO Box 2803, Seattle, WA 98111, www.inimical.com/Inkblot: www.inkblotrecords.net)

RAW POWER-The Reagan Years (Beer City, 2xCD/DVD)
A package that includes Raw Power's first four albums--"You Are The Victim," "Screams From The Gutter," "You Are The Victim" and "Mine To Kill," the "Wop Hour" EP and the song that introduced a good chunk of the world to Raw Power, "Fuck Authority," off the "Welcome To 1984" compilation. What's not included is their 1983 demo, which ended up being released in the US by BCT on cassette and later on CD by Grand Theft Audio. That's still my favorite Raw Power recording (it's where "Fuck Authority" came from), which may not be the slickest recording but I don't think they ever matched the ferocity of it. Still, you won't hear me complaining too much about the re-recordings of many of those songs for "You Are The Victim," recorded in '83 and "Screams From The Gutter," recorded in '84. Blazing thrash, accompanied by whizzling guitar squalls. "Victim" sounds primitive but that's part of its charm. "Screams" is a tour-de-force of mayhem. Mauro was the main vocalist and he's a serviceable frontman but the band's music is the main attraction. Unfortunately, what followed with "After Your Brain" and, especially, "Mine To Kill," wasn't quite up to the same level. The former maintains some of the band's loose & ravaging qualities but there's a big decline for "Mine To Kill." Increasingly metallic and with some dragging/thud-like compositions. Even the faster songs don't provide a lot of inspiration. The DVD is taken from two live shows in '85 and, sadly, is quite poor in quality. The sound is wretched and it's really a shame because Raw Power were one of the most ferocious, over-the-top bands I've ever seen.

I'm not trying to be entirely negative, here--there's some great music contained on these discs and it's a worthy introduction to the band for the novice. Just don't expect a 100% success rate. (PO Box 26035, Milwaukee, WI 53226-0035, www.beercityrecords.com)

REACTIONARIES-1979 (Water Under The Bridge, CD)
A split CD of sorts, with songs from a practice tape by this San Pedro band recorded, if you weren't paying attention, in 1979. Who were the Reactionaries? They were the predecessor to the Minutemen, featuring vocalist Martin Tamburovich plus D. Boon, Mike Watt and George Hurley. And while you can hear hints of what would come later, such as "Getting Existential On The Beach." The Reactionaries decidedly fell more in the punk rock camp. It's obvious that those visits to Hollywood to "drink and pogo," as Boon sang on "History Lesson Pt. 2" made an impression on their sound--echoes of the Dils, Middle Class and no doubt other bands. "God and Country" has the same sort of political urgency as what would come later. While things would get refined a bit when the musical core moved on to their better-known aggregation, these songs are edgy and energetic and the playing is solid. So how is this a split CD? The ten songs are covered by different permutations of members of bands with San Pedro roots. That includes Messrs. Watt and Hurley, Jack Brewer and Joe Baiza from Saccharine Trust, Todd from Toys That Kill and others who I'm too lazy to detail (and don't know who they are, anyway). While it might seem redundant, it doesn't have that "tribute album" cheesiness to it. The songs aren't overproduced, maintaining some of the lively/unfettered feel of the originals--basic, stripped down punk treatments. The originals, though? Killer... (PO Box 1794, San Pedro, CA 90733, www.waterunderthebridgerecords.com)

RED DONS-Fake Meets Failure (Deranged, LP)/Pariah (Deranged, 7")
A new album and 7" (one LP song/one non-LP) for the Red Dons, who continue to offer scintillating melodic punk. It's not that simple, though, even if I mentioned such touchpoints as Naked Raygun, Buzzcocks and Hot Snakes. I mention the first two bands due to pealing guitar notes. It's still not a complete picture.  "Pieces," the closing song on the first side, is the real standout, here. The main guitar line twists its way into your brain matter and is reinforced with a heady wallop, fading out for a semi-subliminal voice collage and then kicking back in until its acoustic fade-out. The non-LP track, "It's Your Right," is also far from a throwaway. There's a depth, a density to their sound and engineer Stan Wright (Arctic Flowers/Signal Lost) has way of bringing out those elements. Doug Burns' impassioned vocals float over the mesh of potently surging and jabbing guitar, bass and drums. Red Dons have turned it up a notch here and moved away from merely being a continuation of the Observers. (www.derangedrecords.com)

ROOFIE & THE NIGHTSTALKER-GHB/Total Dementia (Rich Bitch, 7")
Balls-out rock 'n rollin' punk--well, in a manner of speaking since the vocalist is named Jenny. She rants 'n raves effectively along with the two burning, hard-driving tunes here. Unfortunately, the band have already split up. Pity. (richbitchrecords.com)

TALK IS POISON

TALK IS POISON-Straight To Hell (self-released, 7" EP)
Released to coincide with their reunion shows awhile back, these are Talk Is Poison's first new recordings in a decade. Still raging, still pissed-off but it doesn't sound exactly the same as their "vintage" recordings. OK, it's not that radically different. If they were a new band, though, I'd give it kudos. Raw, fast thrash with piercing leads, slowing it down for the jabbing "Keep The Peace." Beautifully packaged, from the heavy stock cover right down to the screened inner sleeve. Welcome back--and I hope it's not the last we'll hear from them. (PO Box 5783, Oakland, CA 94605, www.badskulls.com)

UX VILEHEADS-Catch 22 EP (Sorry State, 7" EP)
People from Regulations, ETA, DS-13, etc etc--and pretty much the kind of fast, no-BS hardcore punk you'd expect. The skate punk-sounding "Kill For Peace" provides a slight departure. It isn't the Fugs song but it takes a similarly sarcastic approach. Not oozing originality but the playing sounds quite inspired and exhibits skill. Enough to make me want to track down their other 7". (www.sorrystaterecords.com)

VIOLENT SOCIETY-We Don't Believe (Creep, CD)
First new recording since VS reconvened a few years ago. Vocalist Pat Society logged time with Cranked Up during the downtime. "We Don't Believe" features a few re-recordings and one of 'em, "You're Gonna Fall," has Greg from the Boils on vocals. "Coming Back For You" remains one of their all-time best songs. VS always traded in a straight-ahead sound that blurred hardcore and UK-82 punk and cover Kill Your Idols' "Hardcore Circa '99," retitled here as "Hardcore '77," to reinforce that point. Pat's vocals are gruffer and more weathered than in the past. Memorable songs with power and catchiness. A stirring return. (www.myspace.com/violentsocietypunks)

WARTORN/PYROKLAST-The Last Line of Resistance (Profane Existence/multi-label, LP)
These Madison, WI bands recently toured together and also pair up for this split LP. Different shades of crusty hardcore punk here. Wartorn's side consists of two lengthy songs. I'm trying to avoid using the term "epic" here but the tracks flow from doomy intros to speed to pounding heaviness and, in the case of "Overdose," an acoustic conclusion. The death-grunt backing vocals are an acquired test--oh, let's be honest: they're terrible although main voice Bitty fares better with an impassioned, higher tone. Fair to middling--their low-tuned style providing moments of crush. Pyroklast steal the show, here--raging thrash in half a dozen blasts. Relentless in its speedy execution and, here, the harsh, larynx-shredding vocals are quite effective--the howl at the end of "Victims Of All Nations" is maniacal. Impressive both live and on record. (www.profaneexistence.com)