Suburban Voice blog #100

Here it is, installment #100 of the Suburban Voice on-line blog. I remember thinking that my goal would to reach 50 print issues of the zine but that stalled out after 45 of 'em (#33-34 was a "double" issue) and I seriously doubt you'll see that happen since it's been 9 years this month since the last one. Where does the time go? This year is also the 30th anniversary of Suburban Voice (originally Suburban Punk), around the end of August/early September--I forget the exact date of when I published the first one. I suppose I should have some sort of celebration but given my past difficulties and/or failure to get people and bands to help out with putting a show together, don't hold your breath...

THE AVENGERS!

There was this girl who I went out with for a short time and, the first night we were together, she put on the Avengers' album--the one with the pinkish cover that included their Dangerhouse EP, tracks from their four song 12" and some other odds and ends. Thinking about that night still brings a smile. Alas, it wasn't to be, although I did stay in touch with her until a few years ago. She told me she still loved the Avengers record although she had to turn down the song "Fuck You" when her twin toddler daughters were playing in the vicinity. Sorry to get all nostalgic on 'ya but I'm sure you have records that conjure up various memories. In any case, here's a long-overdue repackaging of the Avengers' material, a definitive set spread over two CDs, after their catalog has been in disarray, legal entanglements and the like for years. Superlatives like timeless, essential, classic can be legitimately bandied about here.

The Avengers were part of the nascent SF scene in the late 70s, playing impassioned music that packed a punch but also full of glorious, melodic hooks. Maybe not so much in "Car Crash," which careens with a churning fury over the course of its four minutes and "Fuck You," as you can imagine, is pure rant. On the other hand, "We Are The One" is an instant singalong, a youthful call to action. "Open Your Eyes" and "No Martyr" have a similar urgency, cutting lyrics and "Second To None" is a boisterous Pistols tribute, which makes sense since it was produced by Steve Jones and the Professionals later did that song with different lyrics as "1-2-3." "Cheap Tragedies" is equally catchy.

Breaking it down, the first disc is "The Pink Album" while the second features demos, live songs and rarities--some of these already appeared on Lookout Records releases from '99 and '04. Included are the far superior mixes of "The American In Me" and "Uh-Oh" (a song with some rockin' piano) that were on the original 12" but replaced on "The Pink Album." Early demos like "Teenage Rebel" and "Friends Of Mine" have a barbed-wire spirit but you can still pick up the fact they were more than just simplistic pogo fodder. Some of the live material is sloppy--Penelope sometimes slurs the vocals--although I imagine the songs where they opened for the Pistols would be of historic interest and she goes off on quite a tirade during "I Believe In Me." Still, this is still mostly top notch stuff. And I hope that my old girlfriend somehow hears this as well. I'd like to see her get her life back on track, given that she turned into a right-wing Mormon. She could use a good dose of the Avengers defiant, spark-filled music. In fact, everyone needs that. (Water,101 Glacier Point, Suite C, San Rafael, CA 94901, www.penelope.net)

BUT WAIT! THERE'S MORE!

 BAD ADVICE

BAD ADVICE-Do Not Resuscitate (Grave Mistake, 7" EP)
A Richmond band bashing out some pretty good hardcore punk that also has a garage feel at times.This was recorded a few years back and the lineup included Brandon and Eric from Government Warning/Direct Control. Not all that far removed from GW at times, although Tony Bitch's vocals are raspier and "Chemical Imbalance" takes a more brooding turn. (PO Box 12482, Richmond, VA 23241,www.gravemistakerecords.com)

BAD DADDIES/WHITE FANG-Split (CDR/Finch, 7" EP)
A cool split by two California bands--Bad Daddies' last 7" was reviewed in this space and was an unexpected delight. They combine fuzzy hardcore punk with the occasional pop hook and ranty female vocals. And in my 30 or so years of writing, they've written the first song I've ever seen about Sargent Shriver, the 1972 Democratic VP candidate, whose wife was Eunice Kennedy Shriver--so with the Mass./Kennedy connection, of COURSE I'm inclined to like this. White Fang ply rough garage/punk/hardcore on their two tracks (the latter on the second song "I Hate Anything"). A winning primitivism. I like this. (www.finchrecords.com)

BIG EYES-Back From The Moon/I Don't Care About Friday Night (Grave Mistake, 7")
This band have been around a few years, having previously released an album, Hard Life, on Don Giovanni last year, as well as another 7" and demo. But this is the first time I've heard them and "Back From The Moon" is the best pop/punk song I've heard in a long time. Guitarist/vocalist Kate Eldridge is a sweet, yet powerful vocalist and she really nails it on that song. A total earworm and the flip is nearly as catchy.Something that harkens back to the Fastbacks, delivering the hooks with a real kick. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

BIGGY STARDUST AND HIS WRETCHED HIVE-Bad Excuse For Bad Manners (Scat Boy/Mystery School, LP)
Semi-obnoxious punk rock 'n roll that's a little off-color/wise-assed without entering into scatology or anything like that. It's more like your grumpy uncle who's had a bad week and holes himself up with some pals to blow off some steam. And I'd imagine this hits the spot with other folks who have had crappy weeks and want to blow off some steam, themselves. In this case, it means plugging in instruments and turning it up loud to chase the blues away.  Sometimes reminiscent of Blanks 77, although this has more of a rock 'n roll focus. In fact, while Biggy exclaims that "we don't need another r-n-r band," that's pretty much what they are. The organ for "Gimme Gimme A Tommy Gun" is a nice touch and they should use that more. Nothing terribly original, just loud and boisterous, the way it should be. (biggystardust.com)

BILL BONDSMEN-Overcrowded Control/Untitled (Fourteegee, 7")
The Bondsmen have long been an underrated band and have been plying quality music for a decade. They have a new two song 7”, their first release in a couple years and they continue to avoid any obvious mold. “Overcrowded Control” pairs harsh, edge-of-psychosis vocals with a razor-sharp mid-speed pound that features some haunting, snaky guitar lines. The untitled flip has a long, ominous intro building up like Black Flag's “No More,” only it maintains a moderate tempo and has the same sort of guitar texture. This is a band you should be paying attention to. (15106 Paris, Detroit, MI 48101, billbondsmendetroit@gmail.com)

BLOODY GEARS-Frozen Rain (Grave Mistake, 7" EP)
A real split verdict from this Boston three-piece. The long title track is moody and down-tempo and never builds much of a head of steam although it's grown on me a little.  The two songs on the flip (including a re-recording of "Bite The Hand," originally on their demo) are sprightlier and make up for the semi-tedium of "Frozen Rain." I'll go ahead and  play the W(ipers) card, given Jeff Walker's vocal delivery and the melodic guitar trills. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

CLUSTERFUCK & COJOBA-Split (Computer Crime, 7" EP) 
Clusterfuck aren't really an active band and their three songs (with nary a break between them) were recorded a few years ago. Fast and scorching hardcore delivered with precision and the lyrics are scathing and satirical, particularly the ruminations of "Warped tour pretty!" people on "Eek Eek Eek." It's over way too quickly. Cojoba, relocated from Puerto Rico to NYC, also operate in a speedy hardcore vein, although the instrumental skill pales next to Clusterfuck, especially for "Papeles." The melodramatic vocals detract, as well. Not really into their side. (24 Circular Ave, #1B, Bridgeport, CT 06605, wheres_the_unity@hotmail.com)

DOOM TOWN-s/t (New Dark Age, 7" EP)
Jabbing, yet somewhat melodic punk from this St. Louis band. Male/female vocals ala X although I, to be honest, I found 'em kind of grating at times. A shame, really, because the songs and production aren't overly polished and it creates a winning brashness. The vocal excesses are reined in on "No Rumors," which ends up being the strongest song here. I have to make the inevitable comparisons to Gorilla Angreb and Masshysteri--lazy, I know, but that's where they're coming from and if you like those bands... (newdarkagerecords.blogspot.com)

HARABALL-The Rope (Fysisk Format, 7" EP)
Haraball are here to remind us that Norway isn't just the bastion of black metal and that quality hardcore still comes from there. It was always the case, of course. The Rope is a four song 7" and the band includes former members of Fairfuck (who put out a pretty good 7" in the late 90s) and Tiebreak, an 80s era band. A definite old-school feel although it comes from more of a late 80s US muse. Economically-delivered aggro, good if not anything overly distinctive. (www.fysiskformat.no)

IMPALERS-Demo (Beach Impediment, 7" EP)
On this vinyl pressing of the Impalers' 2010 demo, you get some explosive Discharge/Swedish-inspired, rockin' rollin' mayhem with echo on the vocals and a speedy attack except for the mid-tempo bash of "Return To Eden" that will have you furiously banging your head. OK, "Turn Me Loose" couldn't sound any more like Discharge if they tried but the problem is? The rest of the songs aren't as blatant about it but you know where they're coming from. (beachimpedimentrecords.bigcartel.com)

KRANG-Sounds Of Death (Sacred Plague, LP)
A long time ago, I saw Nun Slaughter play here and, at one point, their vocalist took a bone and tapped it against a human skull and said "this is what the dead sounds like!" I'm not so sure this album is what death sounds like but it could be the soundtrack to impending doom. Hardcore/metal/crust with epic propensities and it's not always to their advantage. As someone who prefers this sound without any excess and in and just gets down to business, there's quite a bit to wade through. The extended narrative of "Acceptance; Here At The End of All Things," basically a spoken piece set against a somber musical passage, is sleep-inducing. When they just tear into the faster material, it works better. The build-up on opening track "Black Standards" does achieve a speed-driven payoff and "The Unbearable Weight Of Knowing" is a solid ripper. Those moments are too few and far between, unfortunately. (www.sacredplague.com)

NO MORE ART-Peripeteia/Evil Eyes (New Dark Age/Erste Theke Tontrager, 7")
Two tracks by this Berlin band, although one of the guitarists, Will Kinser, is an American. He's played in bands like Born/Dead and other hardcore units but he also plays in the Red Dons and NMA's sound is more in that vein. Driving, melodic punk with powerful female vocals, and it's also musically similar to Arctic Flowers and Masshysteri. I wouldn't mind hearing more. (newdarkagerecords.blogspot.com/erstetheketontraeger.blogspot.com)

POISON PLANET-Boycott Everything (Third x Party, 12")
It's PARTY time with the Planet! Those booze-guzzling, weed-toking bon vivants are back to take you higher. OK, just having a bit of fun here. This is a five track, one-sided 12" bristling with aggressive, pissed-off hardcore punk that, at its lyrical core, is a critique of predatory capitalism, as well as racist, anti-immigration initiatives and even cruelty in language ("I Hope You Choke"). I have a friend who is always lamenting "political correctness." Even though he's not a bad guy and, as far as I know, not prejudiced, I point out to him that it's a term bigots often use to justify their hateful words. Some full-bore rippers here, especially the title track with a sick breakdown in the middle and sputtering lead. "Border Fences" packs the same type of punch as their fellow Chicagoans, The Repos, who were one of the best bands I saw in the past decade. Big build-ups, bursts of speed and the words are spat out with bilious authority. Comes with a lyric booklet and big fold-out poster. (thirdxparty.blogspot.com)

P.R.O.B.L.E.M.S.-s/t (Doomtown Sounds, CD)
P.R.O.B.L.E.M.S. are from P.O.R.T.L..., uh, Portland and the band hammer out some hard rockin ‘n rollin’ punk. Not a cock rock, not metal although there are hints of it. A reliance on volume, searing riffs, with more of a Detroit tinge at times. The final song, “Graveyard Kiss,” takes a darker and moodier turn. The CD includes earlier single and EP tracks. (www.problemspdx.com)

RED DONS-A Forced Turning Point/Se Foi (Taken By Surprise/New Dark Age, 7")
A pair of new songs by the Dons and no major change. Two tuneful songs with strong musicianship and Doug Burns's mannered vocals. This band has always featured great instrumental interplay. The a-side is far and away the best of the pair, with much more oomph than the less-sprightly "Se Foi." The melody brings the late, great Boston band Moving Targets to mind. (newdarkagerecords.blogspot.com)

SECTARIAN VIOLENCE

SECTARIAN VIOLENCE-s/t (Grave Mistake, 7" EP)
Sectarian Violence is an international band with Nick from Coke Bust on vocals, joined by three Brits and a Swede. Is there a joke in there somewhere? I know one thing for sure--you won't see them walking into a bar given their straight edge beliefs. I like this better than Coke Bust as it's straight-on thrash (along with pounding breakdowns) without the powerviolence. Anger and agitation honed into a sharp weapon. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

 SICKOIDS

SICKOIDS-s/t (Residue, LP)
Prior to this album, Sickoids had only released a not-so-great sounding demo tape but they make the jump to the vinyl format with a jarring debut. This Philadelphia three-piece, with Rob and Vince from Witch Hunt joined by Eric from Direct Control and Government Warning, slam out some piledriving hardcore but there are barbed-wire melodic touches ala Husker Du that are burned into the fray (such as with “Hope Subsides”). Some of the guitar lines echo Die Kreuzen’s haunting slash via Voivod, whose drummer Away has admitted to purloining some of DK’s guitar sound. That’s particularly true for “Bleached Bodies,” “Clarity” and “Human Steps.” Despite the snatches of melody, this is still an abrasive, ear-challenging proposition at times and sometimes tough to grasp onto. Still, Sickoids have put together an attention-grabbing assault and they’re on the right track. (2023 W. Estes Ave., Chicago, IL 60645, www.residue-records.com)

UNHOLY THOUGHTS-The Attic (Even Worse, LP)
Another Richmond crew with "members of..." (including Government Warning) dishing out the agitated hardcore/punk, along with a dollop of rock 'n roll that you've come to expect from that city's 'core-meisters. Snotty 'n ranty vocals with a decidedly "leave me the fuck alone" mentality and burning arrangements throughout, leading off with the momentum building "Excess." And if you think "Whiskey Weed Girls and Speed" is a cover of an obscure Motley Crue song, that's not the case Intsead, it's a rampaging thrasher and you wonder if they're serious or being sarcastic when talking about needing those things to get by day to day. Bruising sounds from these miscreants. (www.evenworserecords.com)

WHITE WHALE-No Solace/Waxing (Feral Kid, 7")
WHITE WHALE/MALLWALKERS-Split (Feral Kid, 7")
White Whale have been putting out quality records for a few years now. Their calling card is driving punk with tuneful properties emerging from the fray. Here are two new discs, one of 'em a split with another upstate NY band, Mallwalkers. On "Waxing," the sound is denser and poppy, with gnashing guitar supported by a bass-line carrying the melody. Meanwhile, Mallwalkers play what could be loosely described as mod/pop/punk with horns. A decent groove and it almost works but not quite. (feralkidrecords.com)

Suburban Voice blog #99

Only two and half months this time. I'm still not publishing quite as often as I'd like but at least it's a step in the right direction--and only one away from the century mark!

Before hitting the review section, I should mention that the Boston hardcore documentary xxx All Ages xxx recently had its "world premiere" at the Brattle Theatre in Cambridge, as part of the Independent Film Festival. Directed by Drew Stone, who was in the early local band The Mighty CO's, it covers the 1980-84 period and features the requisite talking head interviews along with photographic images and show footage. It should be noted that one of the prime movers, Al Barile of SS Decontrol, refused any involvement. The premiere was fun, since it was essentially another reunion of people who were around back then and it proved to be a rowdy gathering. In fact, the vast majority of the audience was over 40. At least one critic in attendance was put off by that, saying it seemed self-congratulatory. To an extent, that's true--there's really not a lot of objectivity nor one single narrator--but I think it does a pretty good job capturing the essence of what went on back then. [Disclosure: I did archival work for the film and was interviewed]. More screenings are planned and a DVD will be released around the end of June. For more info, go to allagesbostonhardcore.com.

ON TO THE REVIEWS...

 BOSTON STRANGLER

BOSTON STRANGLER-Primitive (Fun With Smack, LP)

The Strangler have been a much-hyped band of late and it's justified. The Strangler started as a solo project for Ban Reilly and he played everything on the Outcast demo released in 2010. He then put together a lineup for live shows and this album is a full-band effort. After too many delays (like a year), Primitive has been unleashed. Let’s be blunt—this is an absolutely shameless Boston hardcore tribute, borrowing more than a few riffs here and there and that’s from just about all of the early-80s crop of bands. It’s humorous to realize that all of those bands had broken up (some would re-form, of course) before or soon after Ban and his bandmates were born. Primitive is Boston through-and-through, with the opening and closing “busts” having local references—the Winter Hill Gang and its boss, Whitey Bulger, who was arrested last year after nearly 15 years on the lam, which explains the title “Bulger Breakout.” Then there’s Ban’s Mass accent (“get out of HEAH,” “doesn’t MATTAH...”). Mostly, though, it’s in the music—SS DECONTROL riffs figure most prominently but you also catch snippets of DYS and the FU’s (“First Offense” sounds like “Civil Defense” sped-up). The stomping, circle storm-inducing title track is instantly memorable and will likely end up being one of the best songs of the year, even though it’s not even half over at this point. I’ve had arguments with other “old timers” about the whole “it’s been done before so why bother” argument. 100% true, in that it’s been done before but when it’s as dead-on as this, why should anyone complain? I’d much rather hear a band do this in 2012 than old bands getting back together and doing it half-hearted or releasing embarrassingly-bad new music (cough*DYS*cough). There’s nothing half-assed about Primitive. It boils over with lyrical and musical maliciousness. (872 Pleasant St., Raynham, MA 02767, www.myspace.com/funwithsmack)

BROWN SUGAR-...Sings Songs Of Birds and Racism (Feeble Minds/Feral Ward, LP)/Tropical Disease (Fashionable Idiots/Feral Kid, 7" EP)

Two impressive musical missives from Brown Sugar. The full-length has been out for awhile (but quickly sold out the first press) and the 7" is brand new. Brown Sugar bring creativity and cleverness to their music although the messages in the songs are pretty straight forward--racism, gender issues, general stupidity and ignorance and Eduardo's vocals have an almost conversational, sarcastic tone. On the album's cover, there are visions of death and decay juxtaposed with an American flag on the front and the Statue of Liberty on the back but it's different from the standard issue, cliched imagery seen on countless other albums. From a musical perspective, it's hardcore but there are other elements at work--hints of garage, melodic touches and a few sax squalls along the way. Different guitar shadings as well, sometimes slashing, sometimes turning down the distortion and that adds to the garage-like ambiance for certain tracks (such as "Sweet Water Pink Boat"). Even a nod to Pink Floyd's "Interstellar Overdrive" on "I Wanna Be A Somali Pirate," the track that closes the album. On the new 7”, the opener “La La Land” starts a suggestion to a friend that eating bugs isn’t such a great idea, accompanied by a nearly Nirvana-esque vibe before settling into garage-hewn rock. An air of unpredictably but maintaining an energetic focus throughout. (feralkidrecords.com)

 CEREMONY

CEREMONY-Zoo (Matador, LP)

Let me get this out of the way, first--Zoo, Ceremony's debut album for Matador, doesn't eclipse what will probably remain their masterwork, Rohnert Park. This is a more polished effort, less jarring than that album and representing nearly a complete break with their hardcore past. There's an increasing warmth in the guitar tone and an embrace of differing influences. The brief “World View” is one of the best songs here, stopping and starting and possessing a nearly mantra-like chorus (“talking into telephones...”). “Citizen” and “Ordinary People” provide some fired-up garage-tinged rock. “Brace Yourself” takes a page from Wire’s “Pink Flag” (the song). “Community Service” is influenced by The Fall. A few of the songs drag on a bit, particularly the bluesy closer “Video.” I’ll admit I was mildly disappointed at first, but Zoo continues to reveal its depth with each subsequent spin on the turntable. It’ll grow on you. (www.matadorrecords.com/)

CHROME CRANKS-No Life In Blood (Thick Syrup, CD)

The Cranks reconvene for the first time since the late 90s and they're back in righteously rocking form. Though initially from Cincinnati, a few of the members moved to NYC in the early 90s and hooked up with Bob Bert and Jerry Teel, who toiled in such bands as Sonic Youth, Pussy Galore and Boss Hog. The latter two followed a down 'n dirty bluesy punk oeuvre and that's what you'll find here, along with some Birthday Party strut, most noticeably on "Rubber Rat." There's some fiery straight-ahead, stompin' rock with "I'm Trash," "Living/Dead," "Broken Hearted King" and "Black Garage Door" (originally by Cincy band the Libertines) and those are the songs I keep coming back to. "Broken Hearted King" has some nasty slide guitar action. There are two other cover versions, including a 10 minute take on the Byrds' "Lover Of The Bayou," that's quite a bit more energized than the original but does go on for too long and a few other songs drag, as well. All in all, though, this is a fairly impressive return. (www.thicksyruprecords.com)

CHUMPS-s/t (Forge, LP)

Everything goes in cycles--in the past few years, there's been a revival of heavy, nervy rock that used to be affiliated with labels like Touch and Go and Amphetamine Reptile in the early to mid 90s. Chumps could very well have recorded for those labels back then. On this 12", Chumps play heavy music but without the metallic bombast and a good amount of suppleness. It's got a dark, nearly sinister vibe to it. There's a seethe in the vocals similar to Scott from Girls Against Boys and some decidedly Jesus Lizard-like touches on a song like "Dirt." That song features lumbering bass and drums joined by jabbing guitar accents. They even add a catchy hook on the chorus of "Black." Guitar, bass and drums churn out a dynamic tapestry, Pushing and pulling and drilling its way into your psyche with dynamic precision. (www.forgerecords.com)

DEATH CRISIS/DIATRIBE-Split (Too Old To Die, 7" EP)

Two San Diego hardcore bands dishing out the aggro. Death Crisis are dead-on with their full-bore thrash blitz over the course of their three songs. Potent riffs power this band's aggressive approach, in something of a Poison Idea vein. Diatribe, who were around in the 80s and got back together in recent years, go for more of a D-beat inspiration, a mesh of barbed-wire guitar intertwined with vocal howlings and bridging the two main songs with a wash of feedback acting as a sound bed for some right-wing paranoid prattle (at least I think that's what it is). I like the Death Crisis side a bit more but they both offer some quality stuff here. (diatribe.bandcamp.com/deathcrisis.com)

HANGOUTS-A.D.D. Generation (Cutthroat, 7" EP)

Loud, boisterous 'n catchy punk rock with plenty of guitar buzz and attitudinal female vocals. There's something rather endearing about the way she sneers out "you're such a fuck face" on the song with the same title. The title track and "Derby Doll" are tough and taut. Only the faster-paced songs ("Get Well," Get Straight") fall flat. (5711 Hoover St., Houston, TX 77092, www.myspace.com/cutthroatrecs)

IMPALERS-Demo (Beach Impediment/No Way, 7" EP)

In case you weren't paying attention, this is a vinyl pressing of this raging Texas band's 2010 demo. Explosive Discharge/Swedish-inspired, rockin' rollin' mayhem with echo on the vocals and a speedy attack, except for the pounding  mid-tempo "Return To Eden" that will have you furiously banging your head. OK, "Turn Me Loose" couldn't sound any more like Discharge if they tried but the problem is? The rest of the songs aren't as blatant about it but you know where they're coming from. And they're coming to tear you a new one. (beachimpedimentrecords.bigcartel.com)

JOINT D ≠-Strike Gently (Sorry State, LP)

This band was known as Joint Damage until recently but had to change the spelling of their name to what you see above since there’s a really bad rap-rock duo from Rhode Island who have a legal claim to it and even had their lawyer send a nasty cease and desist letter. What’s funny is their guitarist/vocalist Nick Goode also plays in Brain F≠ aka Brain Flannel and this album has vocal assistance from two other members of that band. It’s more of a hardcore affair than Nick’s other unit although there are some sonic similarities. There’s a density in the sound—gnashing and bashing throughout—along with the spat-out vocals. Still, many of the songs are infused with a speedy scamper driven by wild drumming and thorny guitar flail. The middle section of “(I’m) Haunted” is louder and has a head-grabbing noisiness that’s offset by Elise’s soothing backing vocals. Not ghettoizing themselves into a generic hardcore sound but there’s a nastiness imbuing their songs. A winning, whirling cacophony. (www.sorrystaterecords.com)

LEGION DCLXVI-The Final Days (Schizophrenic, LP) 

These self-described disseminators of True Canadian Misanthropic Blackened Hardcore do, indeed, peddle the metal on their latest opus The Final Days, their first album since 2008. Raw venom in the vocals and a meat-cleaver attack covered in crust. These are punks who are well-acquainted with the work of Bathory, Hellhammer and other purveyors of thrashy and heavier nastiness. Despite the intense, gloomy lyrical matter about the coming apocalypse (as predicted by some religious figures), it does seem a bit tongue-in-cheek and they wrap things up on an exuberantly upbeat note with their cover of the 4 Skins "Evil." It'll make you want to get down with your evil self. (17 W 4th Street, Hamilton, ON Canada L9C 3M2, schizophrenicrex.com)

MEAN JEANS-On Mars (Dirtnap, CD)

Sunny, power-poppy rock that brushes the edge of syrupy without getting too cute, although I could live without the xylophone that pops up on a few tracks. I like a little more brawn, a bit more oomph with my melodic rock and the Jeans achieve that for the opening song "Ready To Rip" and, especially, "Nite Of The Creeps." In the same vein as the Marked Men, Exploding Hearts, etc. I still wish it rocked harder. (3840 SE Gladstone St., Portland, OR 97202, www.dirtnaprecs.com)

MIND SPIDERS-Meltdown (Dirtnap, CD)

Ostensibly a solo project for the Marked Men's Mark Ryan, this is the second Mind Spiders release and it follows a path from pleasant, poppy compositions into darker and nervier territory, though never straying too far from its melodic underpinnings and the sonic densities are present at the outset--a mesh of guitar warmth, happy sounding organ and Ryan's nasally vocals. There are certainly songs with a Marked Men flavor, such as "Play You Out." The final four songs of the album descend into synthy realms, although the last song on the first side, "Fall In Line," hints at what lies ahead with a numbing, repetitive riff and concluding with a clattering effect. I actually find these compositions more intriguing, especially the jolting "Wait For Us."  By the time of the instrumental title track that closes the album, there's a bliss that mines Krautrock, along with early OMD tinges--I'm thinking of their song "Bunker Soldiers," with a similar melody. An enjoyable, engaging musical excursion. (3840 SE Gladstone St., Portland, OR 97202, www.dirtnaprecs.com)

NEGATIVE DEGREE

NEGATIVE DEGREE-s/t (Offside, 7" EP)

Real basic, raw stripped down hardcore punk with primitive production and that becomes part of its charm. Not a lot of distortion on the guitar, ala Amdi Petersens Arme, and Negative Degree have a baaaad attitude about stuff. The middle finger is thrust into the air and they revel in telling various annoying people and nemeses to fuck right off. I could see "Punch Out" and "Service Industry" becoming Labor Day perennials on Sonic Overload. Doin' it the right way. This is a vinyl pressing of their demo. (www.offsiderecords.com)

THE NERVOUS-Genital Panic! (Nervous, 7" EP)

The Nervous and Negative Degree share the same guitarist, Johnny, but the Nervous operate in more of a garage/77 punk region. Jen's vocals go from singing to screaming in the same song (sometimes in the same verse or chorus) and the compositions are sharp and memorable. They can be driving and aggressive on a song like "Greatest Generation" or more tuneful, as with "Dead Fret," although that song also has a punchy fervor. This reminds me of Gorilla Angreb's early recordings, at times. A fine debut. (toonervous.blogspot.com)

REPORTS-Dimano Cambridge (Ride The Snake, LP) 

Head-messing rock with a density of sound, a gnash of guitar, bass, drums and organ, along with soothing vocals. Not as in some sweet pop style but there’s a certain amount of joyous blissfulness in the band’s approach. It’s poppy without being pop. They create a heady drone, especially for the 12 minute title track that settles into a Krautrock-styled motorik, and it’s rough enough to appeal to punk fans. To save you the trouble of consulting Wiki, it’s a repetitive rhythmic style that was used primarily by NEU! in the early 70s and also adopted by Stereolab in their early days. And there’s the hovering spectre of the Velvets. Lest you think this is something that falls outside the punk realm, the rough-hewn pound of “Turnaround,” “Kittenface” and “The Valley,” with an ear-grabbing organ hook, should quickly dispel that. It's hard not to get caught up in this band’s joyfully cacophonous swirl. (www.ridethesnakerecords.com)

REVILERS-s/t (Patac, LP)

The ReVilers have both a punk and rock 'n roll heart and mix those together in their boisterous compositions. Heart on the sleeve, to use a cliche--I mean, it's hard to miss the point of "Quit My Job," with the refrain, "before I kill my fucking boss."  There's a winning energy to some of these songs--"First Law" and "1860" in particular--which pack a catchy, surging punch. Still, there's not a lot that stands out here. (www.patacrecords.com)

ROGUE NATIONS-Regi Mentle Rides Again (Suicide Watch, 7" EP)

The Nations take a break from their politically-oriented lyrics to write music that accompanies lyrics written by Regi Mentle. To provide a brief synopsis/encapsulation, Regi was a mainstay of the early LA punk scene, part of the Germs' "inner circle." I remember reading his contributions to Flipside in the 80s and they were always provocative. He was convicted of killing a man in the early 80s (most likely in self-defense), given a 16 years-to-life sentence and is coming up for parole. This record's proceeds will go towards his legal defense fund. The musical contents are a successful take on classic west coast punk, especially the Germs, as you'd probably expect, although Chris Peigler's vocals are in a higher cadence than Darby's style. The lyrics have a dark, twisted nature, some of it autobiographical, especially for "Parole Board." This is the Nations' sharpest-sounding music to date. (www.myspace.com/theroguenations)

ROTTEN CADAVER-Hi-Jacked Reality (Black Water, 12")

This album was recorded in 2007 and, after ridiculous delays, it's finally been unleashed. Blistering, loud 'n fast hardcore/crust by this Portland wrecking unit. Fast picked-guitar relying more on tension and fray than pure powerchords, thumpa-thumpa drums, nimble bass-lines and hellacious, throat-ripping vocals. The lyrics don't really follow a verse/chorus/verse pattern but are brief exclamations of, to quote two of the titles, "Our Rage" and "Disillusion." The band's name insinuates something ugly and you get your money's worth on that account--and it commands your attention (PO Box 5223, Portland, OR 97208, www.blackwaterpdx.com)

SISTA KRIGET-8 Track Horror (Black Water, 7" EP)

And, for the millionth time (give or take), here's a band playing straight-ahead, Discharge-influenced Swedish hardcore and damn if they aren't quite proficient at it. The band includes members of Fy Fan and Pisschrist so that should tell you right there that it's going to be some quality music. Everything you'd want--just a pummeling, raw (though not noisily-distorted) sound, harsh vocals and relatively catchy. Well, as catchy as this sound gets i.e. it's not just a wall of noise. Recorded in 2009 and this is a reissue. (PO Box 5223, Portland, OR 97208, www.blackwaterpdx.com)

STRIPMINES-Crimes of Dispassion (Sorry State, LP)

If there's one thing that could be said about Stripmines, it's that they're hardly dispassionate. They muster every bit of passion, every bit of bile and rage to fuel their boiling-over style of hardcore. Stripmines batter their songs to a pulp with a tandem of guitar burn, drum bash, roiling bass and harsh vocals. Not slavish to one stylistic aspect--there are Swedish influences but you can hear echoes of Lifesblood's bruising nature and "Political Correction" even has a slight Cro-Mags inflection. That song also takes aim at people in the punk scene who have arrogant, know-it-all, judgmental mentalities that can alienate potential allies. Starting and ending with the same ominous tone and, in between, hell is unleashed. Raw, fast and just plain MEAN sounding, especially in the vocal department. (www.sorrystaterecords.com)

UNCURBED/WARVICTIMS-Split (Sacred Plague, LP)

The front cover is a reinterpretation (I guess) of the Germs' logo, with a bomb fuse on the upper right and doves flying out of the lower left. Two veteran bands continuing to ply the same sort of full-bore Swedish hardcore they've been at for years. In Uncurbed's case, it's about two decades and this might be their swan-song. There's a running theme for Uncurbed's songs, depicting the harsh, cruel realities of life for the less-privileged, brought on by everything from homelessness to imprisonment to personal demons. Warvictims follow, commenting about a world on the brink of destruction. Both bands have the thick, heavy sound and gutteral vocals, although Uncurbed's guitar tone is a shade lower. Recorded in 2009 and this is the US release. (4919 NE 33rd Ave, Portland, OR 97211, www.sacredplague.com)

UNRULED-s/t (Schizophrenic, 7" EP)

Unruled released a CD awhile back with the guitarist and bassist from the original lineup joined by the singer and drummer from Inepsy and the songs from the original EP were included. Now there’s a vinyl reissue. Well-done fast punk in a decidedly UK-82 vein, complete with the catchy Blitz-type guitar for “Time Is Running Out,” which is the best of the bunch. The other three songs (they’ve added an extra song which has demo-sounding production) also sound as though they’d fit in nicely on any Riot City/No Future release at that time, with “Forced Mistake” taking a Discharge turn. Not bad but “Time” is the pick-to-click here. (17 W 4th Street, Hamilton, ON Canada L9C 3M2, schizophrenicrex.com)

URBAN UNREST/PARENTAL SHOCK-Split (United Shoebrothers/Rabbit's Foot, LP)

Pretty basic '82 inspired hardcore by both of these Finnish bands and more ties to the 80s with cover art by Brian Walsby although his graphic style has certainly evolved since those days. I mean, the songs here are OK--fast, peppy and tight but not essential. Urban Unrest pack more a punch on their songs and the lyrics exude frustration and disillusionment in a convincing manner. As we say here in Mass., wicked average. (unitedshoes@hotmail.com/rabbitsfoot@mail.com)

VARIOUS-PDX Vol. 2 (Black Water, 7" EP)

There's a certain sound emerging from Portland besides the power-driven hardcore/thrash style. It shows an affinity for something gothic or, perhaps more accurately, early 80s UK doom 'n gloomers. A melodic, melancholic sound from the four bands here, including the superb Arctic Flowers. An earlier version of one of their best songs, "Crusaders + Banshees" leads things off with a punchy, melodic sound and that also comes out on the Funeral Parade track. Speaking of Banshees, Moral Hex certainly borrow from early music by that band (as in Siouxsie and...). Meanwhile, with the synth lines, Bellicose Minds take a page from New Order. Not happy-sounding music by any stretch but the punk undertones sidestep prevent these songs from sinking into a mucky abyss. (PO Box 5223, Portland, OR 97208, www.blackwaterpdx.com)

 

WILD//TRIBE-Endless Nights (PunkAlive, CD)

Burning hardcore done with a full-throttle blitz. Wild//Tribe hail from Austin and bring their hometown brethren Spazm-151 and early World Burns To Death to mind. In the latter case, it's due to the low, strangled-sounding vocals offset by higher emanations. "Power" is the perfect title for the leadoff track since it sets the stage for what follows. A relentless barrage of hardcore drawing from Swedish and Japanese influences and underpinned by a pure rock 'n roll kick. Not reinventing the sound, just reinvigorating it a bit. This is a scorcher. (punkaliverecords.blogspot.com)

WYMYNS PRYSYN-Payday (Scavenger, Of Death, 7" EP)

A dense thundercloud of blown-out sounding punk/garage/noisy rock and the two songs on the a-side ("Payday," "Cat Pills") bury the songs' melody lines inside. The flip, the instrumental "John Titors Blues," approximates Dinosaur-meets-shoegazer rock. Something like that. The songs with vocals fare better. Loud, heady stuff. (wymynsprysyn.bandcamp.com)

Suburban Voice blog #98

THE SPITS

I'm not going to apologize for taking over three months. And, yeah, I have a huge pile of unreviewed records although the better ones can be heard on Sonic Overload  Let's just say I feel like a sloth-like schmuck and leave it at that. With that out of the way...

AUSSIE DISTORTION
Three nice new discs from Australian label Hardcore Victim, via their US distributor Havoc. Maybe nice isn’t the right term, when it concerns the musical contents. Two 12”s and a 7” and all of ‘em favoring raw, distorted hardcore. Kromosom's 8 track 12”, cleverly titled 8 Tracks, has been remastered and remixed. There seems to be a tad more brightness in the mix but there’s nothing glossy or polished about the blazing Kaaos/Disorder-inspired assault. Yeap (former Pisschrist vocalist) is quiet and soft-spoken until he gets the microphone in his hands and then terror gets unleashed. And it’s not buried under a wall of impenetrable feedback, making it a much more listenable proposition. If Yeap’s a gutteral vocalist, the yin to his yang (or is it yan to ying?) is Vaginors’ vocalist Rat Boy, with a high-pitched helium yowl that sounds like a ranting Doc Dart from the Crucifucks fronting another band inspired by Kaaos, along with some older Japanese influences. On their Nuclear Papsmear 12”, the drums and bass are up front, with the guitars generating sheets of distortion behind them. The synth bleeps (I think that’s what they are) for “”A.D.D.” are a very cool touch. Total annoy-the-neighbors music that’s a whole lot of loud fun. The final selection in this trilogy of terror comes from Leprosy on their 5 Tracks 7”. Basic, crusty thrash that gets the job done, no more or less, and I don’t mean that as a slight. Leprosy imbue their music with a vigorous rage. (PO Box 8585, Minneapolis, MN 55408, www.havocrex.com)

MORE OF THOSE ROUND, BLACK THINGS (except if they're colored vinyl or CDs) 

 ANCIENT FILTH

ANCIENT FILTH-s/t (Shock To The System, 7" EP)
Finally, some vinyl from these guys. Fast, rippin’ hardcore punk with a high-pitched vocal bark and in-the-pocket musical delivery. This is a lavish package with a heavy-stock fold-out sleeve, lyrics poster and plastic transparency on top of it. The lyrics are accompanied by explanatory essays and it’s a plea to break away from complacency and conformity, in the punk scene and in so-called real life. Gaining control and not falling prey to societal norms while also not falling prey to clichéd punk norms, as well. Boston hardcore continues to regenerate itself and Ancient Filth are good example of that—fiercely DIY and conveying a more-than-convincing amount of heartfelt passion, both musically and lyrically. (Shock To The System, PO Box 400206, Cambridge, MA 02140)

CRIATURAS-Oscuridad Eternal (Trabuc, LP)
Coming on hard and fast with a high-powered combination of punk, crust, hardcore, speed metal and rock ‘n roll in various permutations. I’ve warmed up to Dru’s rant-sing—there’s range there—and the songs mix things up stylistically. There’s the rockin’, catchy theme song “Criaturas,” the full-on rampage of the title track, “Nunca Va A Cambiar” and “Quemado En La Hoguera. “Anarkia” is carried along by a scintillating bass melody by Eddie Lael and shit-hot axe wrangling from Victor Gutierrez, who delivers an arsenal of shredding leads and warmer textures (as with his and Eddie’s other band Vaaska). Criatuas successfully balance full-on blitz with more tuneful shadings. (www.nodo50.org/trabucrecords/Distributed in the US by Todo Destruido, tododestruido.blogspot.com)

CRUDDY-Negative World (12XU, LP)
This album would most-assuredly have been in my top ten of 2011 if I’d acquired it before the end of the year. Hell, I hadn’t even heard of them until stumbling across some of their music on the internet and it instantly hooked me. Knotty, gnarled punk with a kinetic nervousness. Staccato, jabbing guitar playing off throbbing bass and drums, along with sing/speak vocals. Digging in a bit, there’s definitely a bit of The Fall's thorniness. The rumble of the brief opening song, “Slow News Day,” had me thinking of the old Aussie bluesy pigfuckers Feedtime, albeit without the slide guitar. “Burn It Down” by the Suicide Commandos is an inspiring cover choice, too. Cruddy’s the type of punk band I find appealing these days—bringing a liveliness, a freshness and variety of influences into the basic guitar/bass/drums setup. (3005 S. Lamar Blvd., D109-403, Austin, TX 78704, www.12xu.net)

DIVINE RIGHT-Pray For Me (Residue, 7" EP)
I thought about using religious punnery, like "oh hardcore lord who art on the dance floor" but I'll resist the temptation (lead us not...). This is just rough, straight-ahead hardcore punk punctuated by aggressive riffing and snarlin' vocals. There are definitely 80s touchstones (Poison Idea, early COC) and it's convincingly venomous. (www.residue-records.com)

 EDDY CURRENT SUPPRESSION RING

EDDY CURRENT SUPPRESSION RING-So Many Things (Goner, 2xLP)
A collection of singles, EPs and compilation tracks dating back to 2004 and, to use a cliche, these guys have come a long way from their humble and primitive origins. The first song, the title track, is minimalistic, with simple keyboards and vocals that almost seem ad-libbed. After that, though, the band's hallmarks quickly come into bold view. Over the years, ECSR have honed a synthesis of punk, garage and post-punk. I know that's a pat, all-encompassing and broad definition but it works and there are stylistic variations, from the brooding "Demon's Dance," which surges to a thrilling conclusion, to the gleeful-sounding "We'll Be Turned On" to the jerking garage delights of "Hey Mum" and "It Ain't Cheap," to the nervous jitter of "You Let Me Be Honest With You." I could probably live without the Go-Gos cover ("We Got The Beat") but the stabs at other people's music are better-executed, especially their take on Aussie obscuros The Chosen Few's "There's A Lot Of It Going Around." They definitely honor the roots of late 70s Aussie punk, as X could clearly be cited as an influence. Dynamic musicianship, especially Mikey's versatile guitar playing--jabbing and angular but balanced with subtlety and nuance and his occasional keyboards add colorful flourishes to some of the songs. That's along with the steady bass/drums and gloved vocalist Brandon's sung/spoke vocals--they could be an acquired taste for some but they have a winning charm. A godsend for the long-time fans and not a bad introduction for the novice, since it encompasses their varied musical arsenal. Time for a new album, boys... (www.goner-records.com)

FAMILY CURSE-Julia Armant/Last Days (Drawing Room, 7")
Two killer songs by this Brooklyn band--hard-edged post-punk rock. "Julia Armant" has features stinging/angular guitar lines with a surge in the chorus accompanied by lively bass and drums--the production is bright. I know I'm making a shit-load of Fall comparisons lately but Erick Bradshaw is obviously a fan of Mark E. Smith. The flip rides of a gyrating bass-line with another catchy chorus. They have an album due on Dead Beat that I'm definitely looking forward to hearing. (www.drawingroomrecords.com)

FRONT LINE-Basic Training EP (Beach Impediment, 7")
'82 style hardcore--which makes complete sense since this actually was recorded in 1982. Front Line were a Norfolk, VA band who appeared on Master Tape Vol. 2 and a tape comp but this is otherwise unreleased, originally intended to be a 7" but the band broke up and it was shelved. Trigger-finger, raw hardcore punk done with unfettered anger. The flyers on the insert show that they played a number of shows with White Cross and they come from that sort of muse. They're mean-sounding but there's still some wise-assery with a song like "Quaker Meeting" and the piss-take cover of "Blue Velvet." This is a ripper. (beachimpedimentrecords.blogspot.com)

KIM PHUC-Copsucker (Iron Lung, LP)
Pittsburgh's Kim Phuc have been lurking about for a number of years and, finally, here's their subtly-titled debut album. A moody, yet muscular sound with droning, fiery properties, although it’s not always at a slackened tempo. In fact, after the mid-paced “23,” that opens side two, there are three quick-hitting scorchers in a row. Kim Phuc have the same sort of early-80s UK haunt that permeates the sound of a band like Arctic Flowers, although the riffing here is chunkier and it’s a tougher-sounding male vocalist. And there’s warmth in the crush of “Prostitute” and the closing “Wormwood Star,” even when it’s not the happiest-sounding music. An ear-enveloping collection. (PO Box 95521, Seattle, WA 98145, lifeironlungdeath.blogspot.com)

NO STATIK

NO STATIK-No Hospice/Clean Sweet Sunshine (Prank, 7" EP)
A bit of a letdown after their killer 12" and seeing them live, though not bad. "No Hospice" is an intense, mid-tempo track  with a burning ambiance and the flip is a faster rager, fading off into a cloud of feedback. Ruby's an acid-larynxed hellion and it's a piledriving crusty hardcore attack. As I said, though, the 12" is better. (PO Box 410892, SF, CA 94141-0892, www.prankrecords.com)

PLATES-s/t (Big Neck, LP)
Like Kim Phuc, Plates have been around for a few years, as well and and their self-titled LP is a volume-drenched head messer. Thick, huge slabs of guitar and, especially, bass (played by Biff from I Object/Brown Sugar/etc) stake out the band’s pummeling attack.   I’m not sure about the point of calling one side “Flashing The Steel” and the other “Gang Shower,” but plenty of musical steel is flashed here (damn, that’s some crappy rock critiquery). This is the type of heavy, semi-abrasive rock that wouldn’t have been out of place on Amphetamine Reptile in the 90s. Nods to Hawkwind, with some of the whizzly guitar effects, and “Sentimental Jenny Jones Fodder” manages to be crushing and somewhat trippy at the same time. For pure punk-imbued raucousness, look no further than “Sociology 101” or “Under Suspect Tutelage.” Something tells me I’d need heavy-duty earplugs if I saw these guys live. I hope I get the chance. (Big Neck, PO Box 8144, Reston, VA 20195, www.bigneckrecords.com)

 POISON PLANET

POISON PLANET-Demo 7" (Offside)/Ugly Truths Vol. 1 (CTW, LP)
A couple of records released for Poison Planet's Euro tour. The demo recording shows the band at its rawest, a blast of pure, primal hardcore vitriol and it's better than I remember it being the first time I heard it. The Ugly Truths disc collects the band's Oblivious and Undermine EPs, adding on a few unreleased songs--the "medley" of "Pleather Jacket Attitude" and "Leveraged Debts" are absolutely smokin' (no tobacco, though--this is a straight-edge band, after all). What's interesting--and it probably wasn't intentional--is that the essay along with "Leveraged Debts" talks about the ongoing battle between liberal and conservative schools of economic thought. Unfortunately, the free-market oriented Milton Friedman bullshit has thrived for the past 30+ years. I say it's interesting because they cover DYS's "No Pain No Gain" and Dave Smalley from DYS is a conservative libertarian who is a true believer in the Friedman school. He even tried to talk about it with me when I saw DYS in 2010 but I wasn't in the mood. Maybe Nick will debate him if DYS makes it to Chicago! Urgent, impassioned hardcore without an ounce of contrivance. (Band contact: thirdxparty.blogspot.com)

POWERBLESSINGS-s/t (Manhattan Chemical and Electronic, 7" EP)
The guys in Powerblessings aren't really old-timers but did play in some 90s-era bands (Maude, Pageant, a few others--I admit I looked it up) and it definitely has a 90s vibe. No, not metal or grunge shit but something nervier. Surging, energetic rock that has melody and kick but it doesn't cross over into a cringe-inducing emo region--the vocals are too rough for that. Opening song "Stunt Whale" is the strongest track, with a mellifluent guitar hook playing nicely off the bass-line and drumming. (manhattanchemicalandelectronic.bigcartel.com)

SHITTY LIMITS-Speculate/Accumulate (Sorry State, 12")
This 6 song 12" will serve as the Limits' vinyl epitaph. Not hitting the quality level of their full-length but still connecting with jittery aplomb. The Fall spectre hovers most brazenly for "Future Mantra," with Louis channeling his best Mark E. He also channels Lydon a bit towards the end of "Medication Time," where the bass riff  nicks a bit from a segment of the Pistols' "New York." Barbed post-punk/garage frenzy right in your face. (111 Old Pittsboro Rd., Carrboro, NC 27510, www.sorrystaterecords.com)

SMASH DETOX-Shanguri-La/Like Water (Prank, 7")
Not sure if you'd say it's a supergroup but there are people from Forward, Judgement, World Burns To Death and a few others in this band. Tour-de-force Japanese hardcore overkill with metallic leads, a semi-melodic heaviness and male/female vocals. Let's just say a little of Ishiya's gutteral vocals goes a long way and afraid that's not a big compliment. The best thing I can say is if you're into the bands mentioned above, you'll probably like this. (PO Box 410892, SF, CA 94141-0892, www.prankrecords.com)

THE SPITS-V (In The Red, LP)
The Spits have released their fifth self-titled album and there aren’t any real surprises, although the massacre depicted on the cover might make you wonder if this is going be their thrash metal excursion. Nope, it’s just more boisterous, catchy punk rooted in a classic ’77 sound although there are spacier/wavier elements, as usual, and different sonic textures from track to track. “All I Want” is a standard Ramones-ish opener but there are twists—such as the mechanized-sounding beat on “Tomorrow’s Children,” with a nervy guitar break.   Sometimes, there’s jarring effect, as when the engaging punk of “Fed Up” just abruptly cuts off without warning. Buzz-burn guitar, keyboard flourishes and drones, the latter showing up most-predominantly for “Last Man On Earth.” No cartoonishness—this has a darker, sinister ambiance and it’s such fun. (PO Box 50777, LA, CA 90050, www.intheredrecords.com)

SUNSHINE SS-Teen Choices (Sacred Plague, 7" EP)
More stinging, rocking punk done at a medium clip. These guys are tough and snarly, powered by beefy guitars and, as I’ve said before, the vocals remind me of Al from The Pist, a bit. Flag-via-Annihilation Time propensities (without the cock rawk) at times and it'll getcha doing the creepy-crawl or whatever kind of punk rock dance you do. (www.sacredplague.com)

TAKE WARNING-s/t (PurePainSugar, 7" EP)
Fine, loud poppy punk from France (lyrics are in English) with beefy guitars and hooks galore. More than a hint of Naked Raygun, especially for "You Are What You Buy," with the "oh-way-ohhh" vocal line. The production isn't too slick, either--just the way 'ya want it and that's what makes it rise above the mundane. (www.purepainsugar.com)

TV FREAKS-s/t (Schizophrenic, LP)
In this blog, I've already mused about Eddy Current Suppression Ring and Shitty Limits. TV Freaks could be the offspring of both bands since there's a similar vibe, only angrier. The edgy garage/punk thing and agitated as all hell. The last track, "You're Cool," confronts the listener/target with "are you lookin' at ME?" In recent months, I've once again seen Blue Velvet, Goodfellas and Taxi Driver and all three of those movies have characters stating words to that effect. I don't think these guys are about to pull a Frank Booth, Tommy DeVito or Travis Bickle on anyone but that's what crossed my mind. Hell, they even make a song about skating ("Four Wheels") sound like a threat. A brash, trebly sound with murder in its heart. And recorded in a barn. (17 W 4th Street, Hamilton, ON Canada L9C 3M2, schizophrenicrex.com)

USELESS EATERS-The Moves (Jolly Dream, 7" EP)
Down 'n dirty, semi-hooky garage/KBD punk with somewhat primitive production. There's a barbed minimalism that almost edges into post-punk territory but this guy probably ain't been to no art school. There's only one Eater and that's a character from Nashville named Seth Sutton. It's a one-man project and he's rather prolific--3 albums in the past year! The first song, "American Cars," is a tad underwhelming but the other songs are throbbingly energetic. Cool EP and I've got some catching up to do. (jollydreamrecords@gmail.com)

UX VILEHEADS-Hardcore XI (Sorry State, LP)
Well, (MM)XI has passed and we're now into (MM)XII which, by my count, is year XXXI for hardcore, give or take year or two. No more Roman numerals, let's just talk about the hardcore part of the album's title. After a few 7"s, the Vileheads' debut 12" provides a feisty dose of what's listed on the package. Fast, tight, energetic and peppy with a few change-ups i.e. they delve into some really tuneful punk on a couple of songs, "My Path" and "Kitchen Knife." The former has a nice west coast hook to it and the latter connects with a catchy chorus. Those songs indicate there's something besides hardcore purity coursing through their veins and I could see them moving beyond a basic thrash attack--which they're quite proficient at. Smart songwriting, as well. (111 Old Pittsboro Rd., Carrboro, NC 27510, www.sorrystaterecords.com)

BETTER LATE THAN ETC... SV BEST OF 2011 (more or less in order)
It was a pretty good year...

 ALBUM OF THE YEAR: FOREIGN OBJECTS-No Sensation (Vinyl Rites)

THE REST OF THE LPs/12"s

RANK/XEROX-s/t (Make A Mess, LP)

BRAIN F≠-Sleep Rough (Grave Mistake/Sorry State)

DRY HUMP-Fucks Your Ears (SexCult)

FOLDED SHIRT-s/t (Fashionable Idiots/Proud To Be Idiot)

THE SPITS-V (In The Red)
BRAIN KILLER-Every Actual State Is Corrupt (Deranged, LP)

TOTAL CONTROL-Henge Beat (Iron Lung, LP)

ARCTIC FLOWERS-Reveries (Inimical, LP)

VIDEO-Leather Leather (Play Pinball!, LP)

7”

MANIPULATION-2 (Sorry State)

BRAIN F≠-So Dim (Sorry State)

BLOODKROW BUTCHER-s/t (Total Fucker)

DOUBLE NEGATIVE-Hardcore Confusion (Volumes 1 & 2) (Sorry State)

SYSTEMATIC DEATH-Systema-8 (Way Back When/Even Worse)

SUNSHINE SS-Teen Choices (Sacred Plague)

NEIGHBORHOOD BRATS-We Own The Night (Abscess)

NEO CONS-s/t (Deranged)

SOCIAL CIRCKLE-Expiration Date (Side Two)

BAD DADDIES-s/t (Central District/Finch)

Suburban Voice blog #97

BRAIN F≠

DIGITAL PROMOS SUCK...

... and I won't review them. Never. No exceptions. It seems more labels and publicists only want to send digital files for review. What's especially ridiculous is some send them at low bit-rates like 128 or 160, which sound like shit. Why even bother if you're not presenting the music with the best sound quality? An acquaintance of mine said that's like sending a scratched record for review. Truth be told, I'd rather listen to the scratched record. I know how expensive it is to blindly send out promos in this day and age so I have a compromise--I'll check out the digital download and if it's something I like and would review, then I'll ask if it'd be possible to send a physical copy. If I don't like it or you won't do it, no hard feelings and you've saved both of us the trouble. As for digital-only releases, as far as I'm concerned, they don't exist if they're not in a tangible format.

Taking a hard line? Damn right. Like it or lump it... I've been at this almost 30 years and I'll continue to review music the way I always have--blasting records or even CDs on my stereo. The day those formats aren't available anymore is the day I finally hang up my reviewer's pen or, more accurately, word processor--although I'm not sure if you can actually hang up a word processor...

ZINES!

Yes, I still get them from time to time and it makes me want to bring back a print version of SV. Never say never, I guess. In the meantime, here are five that have showed up in my mailbox lately (well, one was given to me in person but I digress).

Matt Average, late of Engine zine and one-time vocalist of Reagan SS, returns to the zine wars with the first issue of Taste Maker. It has the basic column and interview format but no reviews--he's thinking of only putting them on his on-line blog--but there's a cool "ephemera" section where he displays various set lists. I also collect set lists, but not as much as in the past. I'd actually like to see him go more in depth with memories about the shows or even a thought or two on the band. The interviews are with Total Abuse, Timebombs, artist/musician Gary Panter, Glass Candy and The Secret Society of The Sonic Six and are fairly in-depth. I like the fact that Matt's not sticking to one style although he said the next issue will probably have more of a hardcore bent. (PO Box 25605, LA, CA 90025, tastemakerfanzine.blogspot.com)

The first issue of Stay Cool is a thick effort and was many years in the making (hmmm, that sounds familiar). A smorgasbord of interviews, photo essays and ruminations on various topics, from vegetarianism (even including Mexican recipes) to racial issues to various musings about punk and hardcore and it's with a Latino bent. Interviews are with Lifes Halt, Faded Gray and El Mariachi (that's the sole newer one). Cut and paste and you can tell that Fernando, the creator, is still passionate about this music even at an 'advanced' age. (1920 Jones Ave., LA, CA 90032, staycoolfanzine.blogspot.com)

Narcomensaje takes its name from "drug messages" disseminated by drug cartels in Mexico, mainly to threaten government security forces and rival drug cartels--that's the gist of the intro to the first issue of this zine. As for the contents, there are interviews with Men's Interest and Nuclear Cult, along with a smattering of reviews and full-page photos. Pretty basic, both layout and content-wise. (narcomensaje@gmail.com)

Fastcore Photos is pretty self-explanatory. The second issue, published by Will Butler from To Live A Lie Records, is half-sized and on heavy stock. Actually, half of the zine consists of in-depth live reviews accompanying the photographs, followed by a photo-only segment. The bands veer towards the grind/powerviolence end of the spectrum although there are exceptions. Nice-looking effort. (wcbutler@gmail.com/www.flickr.com/fastcore)

And, finally, Craig Lewis has published the 14th installment of his long-standing zine Upheaval. One double-sided page this time, with an essay that has Craig detailing his ongoing battle with (and recovery from) his ongoing mental health issues, plus reviews of punk and hardcore bands from around the globe. (Upheaval.Fanzine@gmail.com)

SYSTEMATIC DEATH

SYSTEMATIC DEATH--THE PILLAGE CONTINUES

The band Chicago used to number all of their releases with roman numerals. Since they got back together, Systematic Death  have been numbering theirs, starting with the Systema-6 LP. And now we have the three latest installments, the just-released Systema-8 on Way Back When/Even Worse, Systema-7 on Armageddon and a split with the Czech Republic's See You In Hell on Insane Society. The latter pair are actually from 2010 but I'm including them here since I'm having a Systematic Death marathon--well for about 20 minutes anyway. Do you really need me to tell you about these guys? True legends, one of the greatest Japanese hardcore bands of all time. They went into hibernation for nearly two decades and then picked up as if no time had passed--both on record and especially live. The hallmarks remain--furious instrumentation, especially the drumming and the hearty lead and backing vocals. Systema Seven sounds a tad muddy production-wise compared to the other pair but it doesn't diminish the savagery all that much. I should also mention See You In Hell, of course. Their split w/SysDeath was pressed for a European tour and the two songs are raw, fast and hammering--a strong Japanese hardcore influence, themselves, so it's certainly a compatible pairing. (Even Worse: www.evenworserecords.com ;Way Back When:www.waybackwhenrecords.com); Armageddon Label: www.armageddonshop.com; Insane Society: www.insanesociety.net)

WHOLE LOTTA ANTiSEEN

Mr. Jeff Clayton sent me a package of five 7" EPs awhile back--new studio recordings with originals and covers, a live EP, a split with veteran hellraisers Zeke and Clayton backed by another band with the moniker The Mongrels and a few other friends join in the festivities. So let's run down the latest from these legends, whose style of punk pays attention to the music's traditionally loud trappings but you'll also hear traditional country, blues and rock 'n roll. The best one is the three song "Exploding Barbed Wire Death Match." The title track is an average Antiseen rager but things pick up on the flip--covers of Cocknoose's "Invader #1 Must Die" and their associate Mad Brother Ward's blazing "Kill The Scene." The next one features a pair of covers, the slow, bluesy take on Louisiana Red's "Sweet Buzz Call," with the band's patented buzz and backed by a rocked-up version of a traditional country song, "Black Eyed Susie," with banjo by their pal Joe Buck. That song reappears with just the banjo (by Buck) on their split with Zeke. Mr. Buck also lends his vocals to Zeke's hard-driving punk rock and Antiseen's  pounding"At The Crack Of Dawn."

Moving along, there's a live EP (World Wide Live Ass Kickin') with two songs recorded in scenic Pittsfield, MA and another three from the Speedfest in Holland. The highlight is a blistering version of "Sabu" and their cover of the Sonics' "The Witch" is perfunctory. Finally, the Clayton/Mongrels EP has a lengthy Skynyrd-meets-AC/DC brooder, "Warhero," with tasteful guitar work but drags otherwise. Two medium-speed punk rockers on the flip, covers of Mad Brother Ward's "Need It Bad" and the scurrilous Rupture's "If I Had A Thousand Dollars."

All in all, this is far from the band's best work and probably for completists, only. I'll stick with the likes of  "Eat More Possum," "Southern Hostility" or the early EP like "Drastic Plastic" and "NC Royalty." The discs are on various labels but if your interest is piqued, visit the band's website at www.antiseen.com. Quite a bit from the band's extensive back catalog on there.

EVERYTHING ELSE...

BROWN SUGAR

BRAIN F≠-Sleep Rough (Grave Mistake/Sorry State, LP)

Finally, a full length from the artists-formerly-known-as-Brain Flannel, or maybe it's still pronounced that way. I have no idea about that but know that this is a mind-melting excursion. It took me a few listens since some of the songs aren't as immediately-accessible as on their previous demo and 7"s but it's worth the effort. Brain F≠ create a gnarled and gnashing punk sound. It's a distorted whirlwind of tumultuous guitar, bass and drums. It's not an atonal mess, though--in that fray, discernible melody lines emerge from the dense arrangements. And then there are the vocals--Nick and Elise aren't John and Exene or Kevin and Bilinda (from My Bloody Valentine) but their harmonies and tradeoffs are engaging and give the band another distinctive element. I don't have any niche descriptions at the ready except to say they play raucous, boisterous, garagey punk that actually was recorded in a garage. Hopefully, that's enough to convince you. (Grave Mistake, PO Box 12492, Richmond, VA 23241, www.gravemistakerecords.com/Sorry State: sorrystaterecords.com)

BROWN SUGAR-Get Fuckin' Mugged (Feral Kid, flexi)
Ah, the crackle-crackle-crackle of a flexidisc, although you can't hear it too much during the songs themselves. Spirited, non-predictable punk these guys have been honing over the past few years and these recordings are actually from 2009. Three rough compositions pulling in thrash, garage and rock' strains, stretching out and freaking out with sax to wrap things up for "Mind Funk." In all honesty, the first 7" and split with Mayday are better and I'm really looking forward to the LP, because they were kickass when playing here over the summer. (feralkidrecords.com)

BURNING ITCH-s/t (Tic Tac Totally, LP)
Yes, punk rock exists in Knoxville, TN--although where doesn't it exist?--and the songs on this album possess a tuneful quality along with the rough-hewn production values. Certainly rooted in various strains of '70s era proto punk. Slashing, raw guitar underpinned by bubbling bass-lines, trashy drums/tambourine and Ian Lawrence's resonant croon. Some real burners here--"Dead End Street" and the sweetly titled "You Should Fucking Die" stand out although things take a somewhat poppier turn for "Brains Fall Out" and "Stay." Doing it right--with a not-too-slick buzz. (PO Box 558383, Chicago, IL 60655-8383, www.tictactotally.com)

COUGHING FIT-s/t (Loud Punk, 12")
Faaaast and hyper-fast hardcore that also breaks down into mid-paced floor-pounding parts and there's nary a break between songs. Once in awhile, they have a punkier moment, as with "Flash In the Pan." Then, completely out of left field, this one-sided 12" ends with a rowdy (and uncredited) cover of the Kinks' "All Day and All Of The Night." Unhinged, raw aggression threatening to ride off the rails and I think a bit less reliance on brute speed would be to their benefit because there are some moments of dead-on rage here. (PO Box 3067, Albany, NY 12203, www.loudpunk.com)

DAMNABLE EXCITE ZOMBIES!-Discography 1990-1996 (Not Very Nice, CD)
90s era Japanese hardcore band (if you weren't paying attention to the title) and more-than-credible Systematic Death worship. That's meant as a compliment, not a slight--this is pure rage, with just about all the songs played at a fast and throttling clip with the hallmarks of the classic sound. Razorwire guitar, merciless bash-em-up drums with plenty of cymbal involved and harsh vocals from Markey on the majority of songs (they were a three piece with the guitarist and bass player sharing vocal duties in '96). Not as much of the metal influence associated with the "burning spirits" bands, although there's the occasional guitar lead. There's a bonus track featuring a live reunion performance from 2010 that suffers from substandard sound quality. Collecting various EPs and compilations and a handful of unreleased songs. Non-stop obliteration. (chaosonmusica@gmail.com)

DRY HUMP-Fucks Your Ears (SexCult, LP)
Dry Hump come right out and tell you what their album is going to do to ‘ya—Fuck Your Ears. The front cover is rather provocative, with a couple of demonic creatures doing... well, see the photo above. On the back cover, it says "This is Lowell: Fuck Boston." A bit of parochialism directed at a city that is a HUB (pun intended, although only locals might get it) of parochialism itself, both in a universal sense and punk scene sense. Since their Culture Fuck Experience EP, vocal duties have passed from Erik to PJ Kuda, whose formidable drumming skills are on display in such bands as Male Nurses, BloodKrow Butcher, Brain Killer and probably a half-dozen I'm forgetting. Whereas Erik's vocals were delivered in a high-pitched rant, PJ emanations are harsher and gutteral but the music remains the same--rampant, thrashy hardcore with rock 'n roll riffing and leads sprinkled in, such as on the Black Sabbath-y (without the doom) "Sex Cult Pt.2." "I Am The Doorway" has a solid mid-paced Discharge pulse. These gentlemen mainly hail from the suburbs surrounding Lowell and there's a large amount of annoyance directed at their stifling surroundings or "Fucksville," as they call it. Dry Hump effectively channel their bile into a walloping sonic attack. (dryhumpsexcult.blogspot.com)

FAITH-Subject To Change (Dischord, CD)
Dischord's catalog overhaul continues with a reissue of the Faith's "Subject To Change," the 1983 follow-up to their split LP with Void, appended with their first, 11 song demo. "STC" represented a stylistic leap for the band, having added a second guitarist and fusing melodic shadings with their straight-forward, speedy DC hardcore sound. "In The Black," from the split, was kind of a harbinger of what would follow with this EP--moodier, more inventive. And it's a stirring fusion. The bass-playing really shines on songs like "Limitations" and the title track. Whether this disc represented the end of that original era or a bridge to what followed in '85 with the Revolution Summer bands, there was definitely a change, a transitional moment. The demo tracks include 10 songs that were re-recorded for the split and one for STC ("No Choice"). They were still finding their footing a bit and the songs were played at a slightly slower tempo--and I don't think that's to their detriment--but these recordings sound warmer/fuller than the versions on the split. No hyperbole--this is absolutely essential. (3819 Beecher St., NW, Washington, DC 20007, www.dischord.com)

FATAL FIGURES-Blue Zed/Alright (Big Neck, 7")
Ugly, bluesy garage/slop with echo on the vocals for this pair of songs, one an original, the shufflin' "Blue Zed" and the flip being a cover of Pussy Galore's "Alright." The latter title sums things--'tis alright and nothing more. (PO Box 8144, Reston, VA 20195, www.bigneckrecords.com)

GERM ATTAK-Fear Of The Unknown (Loud Punk, LP)
As I've written before, Germ Attak started out pretty strongly inspired by Chaos UK, Disorder, etc and they've still got the UK-82 bug but it's been coming from the Varukers/Exploited/GBH side over the past few albums. The songs are mainly fast-paced ragers that conjure up visions of mohican youth running around in a big circle. If there's a running theme, it could be give us a future, to paraphrase another early 80s UK band, One Way System. Or, more accurately, it might seem as though there's no future, given the sentiments of "Poisonous Lifestyle," "Face The Reaper" or "Back's Against The Wall." This album was recorded by two Germ Attak-ers, with Jo handling guitar, bass and vocals along with his drummer compatriot Will and this will likely be their final missive. I always thought these guys were slightly above average, if not exactly top tier and "Fear Of The Unknown" reconfirms that opinion. Solid, competent headbangin' punk. The limited package is great, by the way--huge poster, flexi disc with two extra songs and colored vinyl. Just watch out for your fingers when handling the rough edges of the record--you don't want to get any blood on it like I almost did! (PO Box 3067, Albany, NY 12203, www.loudpunk.com)

HOLLYWOOD-Stunts (Big Neck, CD)
If you didn't tell me, I'd swear this was a new Mudhoney album, with the Mark Arm-type vocals, tongue in cheek lyrics and somewhat grungy, swampy guitar sound. It could even have been a new Monkeywrench disc, the sporadic collaboration with Mark and his Mudhoney compatriot Steve Turner, Tom Price from Gas Huffer and Tim Kerr. I've heard a new Mudhoney album in recent years and Hollywood's album is quite a bit better. Enough about those bands--let's get to Hollywood's rock 'n roll stew. The best song here is the raucous, rump-shaking "Toe-To-Toe," with a spacy instrumental break. The opener,"(Scary) Cemetery," borrows a lyrical line from the Ramones "Pet Semetary," and pounds along nicely on a sturdy bass-line, thunder-crack guitar and single note piano plink during the chorus. Bluesy, garagey, down 'n dirty rock done with simple, enjoyable aplomb. (www.bigneckrecords.com)

NAIFA-s/t (Faca Cega Discos, LP)
I'm fighting through a bit of writer's block today and having trouble coming with any sort of clever prose in reviewing this album but I'll press on because it's a winner. Naifa are a Brazilian band playing tuneful punk inspired by (though not entirely) classic 80s-era west coast fodder.  Plenty of drive and chops from all three musicians, with the guitarist, Arthur, handling the vocals as well. They complement each other perfectly. It's tough to miss the burn and hooks on songs like "Nada," with the jabbing, angular guitar underpinned by a bass line that pushes the melody along and that's also the case for "Pau No Cu and "Colisao." All of this is reinforced with impassioned vocals and it adds up to a strong, power-packed collection. As Arthur yells at the end of side one, all right! (facacegadiscos.wordpress.com)

NEO CONS-Hardcore Elite/Kill The Police (Abscess, 7")
A two song 45, with an original backed by a ravenous cover of a  Jezus and the Gospelfuckers song. Speaking (or writing, actually) as someone who has been carping, at times, about the "hardcore elite" in Boston and other places--and lost some people I thought were friends in the process--I have to give this feisty, snotty punk song a big round of applause. The song's target is people who pull the age card and slag off younger kids but I think it can work the other way, as well. You respect me, I'll respect you. OK, end of lecture. Time to turn up the buzz. (www.abscesstrax.com)

NIGHT BIRDS-The Other Side Of Darkness (Grave Mistake, CD)
After a passel of 7" releases, Night Birds unleash their debut album and it's more of the west coast Adolescents-meets-DKs punk sound. Surfy guitar and driving arrangements exhibiting a high level of musical skill fuel the band's catchy oeuvre. Lyrical inspiration comes from plenty of time watching movies, bookwormery and even catching up on the news, occasionally, as with "Paranoid Times." "Hoffman Lens," is based on the schlocky John Carpenter movie "They Live" (you know, with Rowdy Roddy Piper) and there's a Woody Allen reference on "Landfill Land," which is one of the better songs here, encapsulating this band's energetic appeal. Snappy 'n catchy. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

OBN IIIS-The One And Only (Tic Tac Totally, LP)
OBNIII is actually Orville Bateman Neeley III and this is his rock 'n roll combo and it's an enjoyably rockin' permutation of various influences. There's the Stooges/Radio Birdman bent on "If The Shit Fits" and "New Innocence," the bluesy stomp of Wager My Heart" and catchy Stones-inspired rock on "No Enemies." In lesser hands, this might veer into bar rock but there's enough looseness and ornery, beer soaked spirit to prevent that from happening here. (PO Box 558383, Chicago, IL 60655-8383, http://www.tictactotally.com)

OILTANKER-The Shadow Of Greed (No Funeral/Slainte, LP)
Throttling, crusty hardcore and it's what you'd expect--a tumultuous sound with dramatic riffing, an earthplow bottom end and scampering drums. Only it's not done in d-beat fashion but with more of a rumble and it's all accompanied by harsh vocals from three of 'em. A thick sound drawing from the requisite Swedish/PDX influences. They're from Connecticut and that state has a long history of these types of bands going back to the 90s. Adept at the style although they don't distinguish nor differentiate themselves all that much. (www.myspace.com/oiltankerct)

POISON PLANET-Bleed For Me/Nazi Punks Fuck Off (ThirdxParty, 7")
DKs tribute, with two of their better-known songs given a raw bludgeoning--Nick is certainly a lot meaner-sounding than Jello and, even with the faithful surfy guitar trill on "Bleed," this ain't exactly a subtle treatment. The intro for this version does convey a good amount of menace. The short essays state, in essence, not a whole lot has changed since the 80s regarding economic or foreign policy and that there are still idiots who, pretending or not, think it's funny to spew racist and other hateful terminology. Not bad but not really essential, either. (thirdxparty.blogspot.com)

RESIST CONTROL-Dissipation EP (Feral Kid/Shock To The System, 7")
Is it thrashy powerviolence or violent power thrash? I dunno but these are short/fast/loud songs that the Short, Fast and Loud zine would love but I'm not quite as enamored. Standard criticism--rat-a-tat drumming fused to some hot riffing but the over-reliance on that kind of drumming hurts 'em. The final track, "In Time Of Actual War," is a good example--a solid mid-to-fast song but they feel the need to blast during the chorus where it's not necessary. Ah well. (feralkidrecords.com/www.myspace.com/shocktothesystemrecords)

RETOX-Ugly Animals (Ipecac/Three One G, CD)
People from the Locust and affiliated bands playing frenzied, chaotic hardcore with more than a modicum of relentlessness, as you'd expect. The parties involved have made a career out of playing abrasive head-throttling music. Cacophonous, but there are distinct songs and a few standouts--the Dead Kennedys guitar signature for "Thirty Cents Shy Of A Quarter" or the haunting bash of "A Funeral On Christmas Sunday" and "Piss Elegant Beats," for instance. Cut from the same cloth as the Locust only they've left the keyboards home. The "mysterious guy" hardcore aura although these guys were successfully bashing out this sort of inspired noise long before there was an arguably vague, catchall term for it. (www.threeoneg.com/www.ipecac.com)

SOKEA PISTE-Ajatus Karkaa (Karkia Mistika/Tuska & Ahdistus/Kamaset Levyt, LP)/Oire (Peterwalkee, 7" EP)
Two power-packed discs for this Finnish band, comprised of members of Kyklooppien Sukupuutto, Aortaorta and a few others bands, some of which have names I'm too lazy to spell out. Dark and nasty-sounding, a doomy ambiance harnessed to moderate and slower paced material. Imagine an amalgam of "My War" era Black Flag, the Wipers, Killing Joke and Voivod in various permutations. Something like that and I'm grasping for a description that really captures this band's essence. These aren't happy-sounding, overly accessible compositions but there's a potent, dramatic, near nightmarish dynamic at work. Colorful artwork with kind of an abstract style and the 7" cover is screened. (Band contact: sokeapiste.bandcamp.com/Peterwalkee: www.peterwalkeerecords.com)

TINO VALPA-Walk The Walk (Kangaroo/Even Worse, 7" EP)
Kind of a hideous cartoon-style cover--head stabbings, hangings, etc. On the vinyl, though, there are 15 brief old-school hardcore blasts with bright production and an abundance of well-executed, single-minded aggro. And, offering a reverse on the old Blondie Is A Group statement, Tino Valpa is a guy, not a band and this is his solo project. He plays all the instruments here, along with bellowing the words. "Walk The Walk" is actually his second EP. If there's a theme, it's an exhortation that age ain't shit, that it doesn't mean you need to give up what you love, especially playing music. 13 originals plus a Verbal Abuse and Poison Idea cover. (Way Back When: Taskinlaan 9, 2361XM Warmond, The Netherlands, www.waybackwhenrecords.com/ Kangaroo Records: 9 Corniche Andre de Joly, 06300 Nice, France, www.kangaroo-records.com)

ÜBERKRØPPLING-Kroppen (Blood Sausage, 7" EP)
Snarlin', nasty punk mixed with Detroit-honed garage swill. Vocals are harshly spat out in Danish and the guitars have James Williamson-manufactured guitar venom ready to sink its fangs into your skull. I have a toothache at the moment and this EP's mean, sputtering ugliness somehow seems appropriate. The vocals are a bit much after awhile and the title track is a mid-tempo rocker that goes on way too long. They get it right(er) on the shorter tunes. (www.myspace.com/uberkroppling)

VARIOUS-Noise Ordinance (Maximum Rocknroll, LP)
It's been almost 30 years since the first MRR comp, Not So Quiet On The Western Front came out (and that was released on Alternative Tentacles). It was a two LP collection of Bay Area bands. This is the third comp of area bands--the other was the double 7" Turn It Around. And like the Not So Quiet comp, this one is hit and miss although there aren't any songs I'd consider completely unlistenable. Still, I don't think I really need to hear the grunt 'n grind of I Will Kill You Fucker (great band name, though) or the Mamas and Papas meet punk of Love Songs. But there are different shades of punk here--from the tough, melodic sounds of NN, Ruleta Rasa to the off-kilter Fleshies (they've been around a long time and remain underrated) to post-punk-inclined Airfix Kits and Rank/Xerox to hardcore ragers like Fix My Head, Morpheme and Conquest For Death. I didn't really feel the need to get up and move the needle--I imagine that's a sign it's a pretty good comp. (PO Box 460760, SF, CA 94146, www.maximumrocknroll.com)

WAX MUSEUMS-Zoo Full Of Ramones: The Singles 2006-2008 (Tic Tac Totally, LP)
Entertaining, goofy punk from this Denton, TX band, who also have two other albums to their credit, including the recently-released Eye Times, after a three year hiatus.. Some of the songs here are (to quote Don Imus) laugh out loud funny--"I Eat Vomit" and "Billy's Room," for instance, the latter of which starts with the kid's 'grandpappy' asking what he does after school and the answer is "looking at pictures of naked chicks in Billy's room." Simple '77-era, garage punk that was really primitive and minimalist on their earliest EPs although none of the songs here are exactly high fidelity. One of the unreleased songs, "Livin In The Eyeball," has glorious buzz-fuzz guitar, accompanied with what sounds like a rhythm machine. Hell, there's even a conceptual trio of songs from one 7", Ancient Structures, with the titles "Pyramid," "Stonehenge" and "Catalcombs." In addition to the 7" releases, there are a handful of comp tracks and unreleased songs. A deliriously fun time. (PO Box 558383, Chicago, IL 60655-8383, www.tictactotally.com)

WHITE WHALE-Widow's Peak/Rats In The Snow (Big Neck, 7")
White Whale's previous demo and 7" were decent-enough but the two songs here don't immediately grab me. Frayed, semi-melodic punk working best on the higher-energy "Rats In The Snow," but something's missing, that extra spark to singe the ears. (PO Box 8144, Reston, VA 20195, www.bigneckrecords.com)