Suburban Voice blog #122

*Early last year, something I wrote for another publication was rejected, for reasons I'd rather not get into. Anyway, I'm finally getting around to sharing it in this space, with a few revisions to reflect recent events. I should note it's almost entirely non-music related. Enjoy...

Too early for Thanksgiving?

A MAN AND HIS LAWNMOWER (AND OTHER NEIGHBORHOOD TALES)

We’ve lived in our neighborhood for almost 20 years. While I’ve mentioned many times that Peabody isn’t a city with that high a collective IQ, our neighborhood’s nice, a quiet, dead end street with little traffic. I've looked out the window at the neighbors’ houses, and realize I’ve never even been in some of them. I don’t really consider any of our neighbors close friends, although most of them are friendly enough. I at least wave or say hi to the ones at our end of street. At the entrance of the street, at the top of the hill, I only really know one of the families. I’m friendly with the mother, Traci (we’re even Facebook friends), and her teenage son Chris mows my lawn sometimes and has done some yard work for me. He's polite and ambitious. 

I wish I could say the same for the kid at the other end of the street, who shall remain nameless. I admit I haven’t made it easy by having a total “get off my lawn” moment with him awhile back which really was a get off my lawn moment. He and a friend decided to set up a ramp on the sidewalk in front of my house to do some skating tricks. I was trying to sleep and came downstairs, opened the door and asked if they could do that someplace else. Yes, total grumpy old man reaction. How pathetic. This was a few years ago and let’s just say we haven’t been on friendly terms since then. Not that we ever were. It wasn’t helped when he and a friend decided to lob a snowball at my car when I was driving up the street a few years ago. I’m acquainted with his parents and they’re OK, although my opinion of them suffered a little when I walked through their house once and Fox News was on.

I used to be really friendly with the elderly couple who live between their house and ours. When I had my shoulder surgery in 2009, they raked the leaves in our yard and the woman used to bring us cookies around the holidays. My lawnmower has been busted for a number of years now and a few summers ago, I decided to mow it myself again and asked the man if I could borrow his lawnmower while mine got fixed (I never did do it, though). I did it a total of three times and by the third, he got pissed about it. “Why don’t you go to the store and get your own fuckin’ lawnmower?” He muttered something about having just had a heart attack. Whatever it was, he was in a foul mood. He still let me take it but didn’t seem all that happy. I might have fucked the mower up a bit when I hit a rock, unfortunately, but I didn’t mention it. I know that wasn’t the right thing to do but he’s used it since so maybe there wasn’t a problem. Anyway, ever since then, he’s been unfriendly. 

Things really went south a few months ago when I was cleaning out my garage after we'd had a drainage system put in and I leaned a few things against the fence that divides our yards. He came into my yard (twice) and knocked them over and then came up to the door and proceeded to scream and yell at me in a completely irrational manner. He'd really fucking lost it. He's really territorial about that fence. I imagine he might not have been pleased I've hit it a few times when backing out of the driveway. I guess I am a shitty neighbor. I thought maybe it was due to his age (I think he's over 90) but the neighbors on the other side said there didn't seem to be any cognitive issues. I guess he's just had enough of me. Oh well...

There were some neighbors—a brother and sister, Ron and Myra--that we were good friends with but they moved away over ten years ago after running into some financial problems. We've stayed in touch with Myra on Facebook but haven't seen them in years and I feel badly about that. Ron was kind of a Mayor of the Neighborhood type, always keeping a close eye with what was going on and always quick to lend a hand. He once helped me break into our house after I’d locked myself out. I’ll admit it was kind of entertaining watching Ron, who isn't all that thin, go through the second floor window but he did it. He also helped me when our house got flooded and when my snow blower wouldn’t start.

Whenever I showed appreciation for his help, he brushed it off and said he was just being a neighbor. I tried to find out his musical tastes and asked him if he’d like me to hook him up with some tunes but he didn’t hit me up on the offer, although I did burn him a disc of a Buffalo Springfield album (Ellen’s copy, not mine—she’s the hippie in the family). Speaking of music, I forget how it came up but he mentioned how he’d been on the stage when Jethro Tull played the Boston Garden in the early 70s and he’d partied with the guys from Ten Years After after the show. Maybe he was pulling my leg but it’s kind a cool story, bro.

Neighbors like Ron and Myra are hard to come by. Ron and I didn’t have a ton in common, except for both being passionate Boston sports fans and I suppose that’s a typical thing guys bond over. I miss having him around—and not just because he’s helped me out with stuff. It’s because there’s something comforting about coming home to a neighborhood where people look out for each other. That’s still true to an extent and some nice people have moved here in recent years. But to this day, when I look out of my window after I wake up in the morning, there’s still no red van, no hockey net in the driveway, no Ron walking around outside. And something doesn’t feel right about it…

PS—while I was working on this column, the kid from the end of the street and his equally obnoxious friend were outside making a racket trying to do tricks with his Razor scooter and tossing the pieces of a broken skateboard at the powerline in front of my house. Would it be mean to want it to come down and... ZZZZZAPP?  I guess it would. 

THE WONDERFUL WORLD OF RECORD REVIEWS... 

BAD NOIDS

ALPHA HOPPER-Last Chance Power Drive (One Percent Press/Radical Empathy, LP)    

From Buffalo, Alpha Hopper's sound is a potent mesh of post-punk grind and heavier impulses. Loud and intense, with guitar lines that weave an often-nightmarish tapestry and that's reinforced with a rhythmic power-boost (given the space exploration theme, I'm not being very clever, am I?). Irene Rekhviashvili's vocals have the same sarcastic timbre as Natalie from Nots. Such songs as "Launch Pad Blues" and "Chief Of The Edge" have a NoMeansNo-sounding fury. Music to shake up your senses.(PO Box 279, Buffalo, NY 14213-0279, onepercentpress.com)

BAD NOIDS-Doggie Bag World (Feel It, 7")

Always thought this band had a few screws loose, especially when seeing them live and their singer set his hair on fire, made an awful joke about the Marathon bombings and jumped on my head. Anyway, they continue to ply loopy-sounding punk slop. "Into The Future" is some Crime-inspired rawk while, on the flip, they rant 'n rave their way through two quickies. They'd probably be at home on Lumpy. (www.feelitrecordshop.com)

BEASTEATER-s/t (Big Neck, LP)
Tom Potter has been kicking around the Michigan music scene for years, having played in Bantam Rooster, Dirtbombs and others. His new band, Beasteater, includes people from Blowtops and Fatal Figures, two loud Buffalo bands of note. Got all that? Their self-titled album provides plenty of loud, heavy, fuzzy riff-o-rama. Noisy, buzzy and boisterous and, yes, it’s got a garage rock pulse but it’s under a heavy cloud of distortion. More psycho than psychedelic and, to quote the lyrics on the lengthy “I Eat Scum,” they really do sound like they’re about to lose their minds. Cool cover choice in Swell Maps’ “International Rescue,” which is given a good battering. This disc will give your ears a good battering. (www.bigneckrecords.com)

CONCEALED BLADE

CONCEALED BLADE-s/t (Beach Impediment, LP)

A barrage of throat-grabbing hardcore. This crew was one of the best bands I saw last year. A speedy attack interspersed with some floor-pounding breakdowns. Not chuggy tough-guy hardcore, just a mean sound, guttural vocals and lyrics filled with plenty of rage and negativity. Sounds like fun, huh? Bruising, no-nonsense hardcore and few bands are doing it as well as they are these days. (beachimpedimentrecords.bigcartel.com)

DAUÐYFLIN-Drepa Drepa (Erste Theke Tonträger, 7”/demo tape)

This mostly-female Icelandic band includes three members of Börn, but instead of that band’s goth emanations, this is a thornier, abrasive punk take. I might give the edge to the 7” but the demo is also worth your time. Screaming vocals that could wake the dead and an unholy, feedback-laden musical attack. “Elthrellir” is punctuated by a sinister laugh and the atonal sax squall for “Við erum Daudyflin” is also quite jarring, in the best possible way. (erstetheke.de; daudyflin.bandcamp.com)

DAVIDIANS-City Trends (Sorry State, LP) 

Davidians debut album (following a demo and 7") is a potent dose of nervy, tension and release hardcore with an abundance of rhythmic complexity. There’s also a haunting guitar sound, eschewing power chords for something sinewy and sinister. Once again, a band that could fit into what I’ve been tagging “outsider hardcore”—a frayed ambiance, a sense of foreboding that doesn’t follow standard verse/chorus/verse structures. There’s also the willingness to experiment a bit, as with the minute or so of feedback damage bridging “Lousy With Hagar” and “Track Suit Glasses." Potent music not fitting in with any specific hardcore niche. (www.sorrystaterecords.com)

EXTERMINATORS-Product Of America (Slope, LP)

When one hears about a band getting back together for the first time in 40 years, it usually sets of alarm bells. They’re louder when the band had never recorded before. Well, you can silence those alarms because the Exterminators' long-delayed debut album is pretty damned good. To make the story short, the band formed in Phoenix in 1977, contemporaries of the great (and also underrated) Consumers but fell apart fairly quickly and the members scattered into such units as the Germs, Bags and Feederz—drummer Don Bolles, who wrote the liner notes, was one of the members. Three of them return, with the late Rob Ritter replaced by Cris Kirkwood from the Meat Puppets on bass. So what do you get from four guys in their late 50s? Some damned fine loud, rowdy punk. It may not have the rawness of ’77 and some of the leads are on the metallic side, but the attitude remains intact. That comes out for songs like “I Hate You,” “I Don’t Give A Fuck” and “Bionic Girl” (a song later done by the Feederz). “Sometimes I Don’t Know” delves into thrash a bit. The closing songs for each side provide a change of pace—the brooding “Destruction Unit” and “Serena II,” a poem set to a mass of feedback that really doesn’t work. Otherwise, this is roaring good time. (sloperecords.com)

IN SCHOOL

IN SCHOOL-Cement Fucker (Thrilling Living, 7")

On In School's latest, there are no punches pulled, just a fuzzbomb attack of vicious guitar and bass lines, spot-on drumming and harsh lyrical sentiments—“making my plans for your destruction… “bloodlust is right”… “I have no pity for you anymore…” Those are just a few snippets and this is In School's most powerful recording to date. (www.thrillingliving.com)

JJ DOLL-s/t (Katorga Works, 7"), 

JJ Doll was formed out of the ashes of Ivy, shifting Sara from guitar to vocals. It’s not a major musical change, with the noisy stew of punk, hardcore and garage remaining intact. Sara’s vocals are something of an acquired taste, as she coos, squeals and yells around the songs but there’s a certain charm to their uniqueness. It just takes awhile. But the songs are vibrant and energetic and the personnel change hasn’t hindered anything. (shop.heavenstreetrecords.com)

MONGOLOID-Plays Rock And Roll (Deranged, LP)  

Rock and roll is kid of a misnomer, although MONGOLOID’s brand of hardcore punk does have a slight rock ‘n roll undertow, if you count the “Louie Louie”-ish intro and rockin’ fervor of “Slam Pig.” If anything, there’s a POISON IDEA tilt to this Portland band’s sound and Sam’s vocals echo Jerry A’s. It’s all done with gleeful, chip-on-the-shoulder malevolence.

OMEGAS-Power To Exist (Beach Impediment, LP)

The rampaging drums for "Boom Boom" introduces the first Omegas album in over five years and, as always, they uncork thorny, high-energy hardcore in brief flashes of fury. Save the nearly three-minute creepy crawl of "Duster's Blues," only one other song breaks the 90 second mark. An off-kilter ride that shifts easily from one tempo to another--kinetic thrash, floor-pounding savagery and good 'ol rock 'n roll fodder, delivered with lurking around the corner, knife-behind-the-back menace. (beachimpedimentrecords.bigcartel.com)

POOR LILY-Dirt On Everyone (TV-Mayor, LP)

How did that Nirvana song go? Just because you're paranoid don't mean they're not after you? I know they got that from somewhere else but I digress. Poor Lily's latest (their third full-length overall) is a concept album about NSA surveillance and it plays as one long piece. The digital download is one long track.  It's not the type of record where you can drop the needle anywhere. The only way is to hear it from the beginning. As usual, they navigate through a dynamic and complex musical post-punk/rock/hardcore domain, as one composition flows into another. No hooks, so to speak, but an attention-grabbing sound and, in this era of Wikileaks, Ed Snowden and possible manipulation of the election, it's hard not to feel as though everyone is under constant surveillance, where whatever nefarious entity you can think of has "dirt on everyone." The album comes with a collage-style booklet that's a visual assault, a bombardment of disjointed words and imagery, although there's no missing the point of the Uncle Sam parody that says "You Got Nothing To Hide Until You Do." A riveting dystopian musical nightmare. (www.poorlily.com)

REACHAROUNDS-Hunter Gatherer (Push and Pull, LP)

There have been a few bands named the Reacharounds over the years--this one's from Springfield, MO and their album brims with a kinetic energy and a lot of rhythmic muscle. An instrumentally dexterous unit providing the soundscape for brash vocal emanations and pointed lyrics that ruminate on life's day-to-day struggles, getting more direct with the anti-police tirade of "I Can't Breathe." (the title comes from when Eric Garner was murdered by police in NYC). Stirring energetic post-punk/hardcore drawing from the well of the Big Boys and some late 80s DC hardcore and even a touch of Mission of Burma in spots. The blunt production, emphasizing the bottom end, really enhances the music's power. (511 E. Edgewood, Springfield, MO 65807, alwaysgodown.bandcamp.com)

S.L.I.P.-Slippy When Wet (Sorry State, LP)

This band includes members of Concealed Blade and Blood Pressure, but they offer something different from those bands. It's a rockin-n-rollin’ concoction but not cock rock. This is something darker, along the lines of earlier Annihilation Time, punks scratching their rock itch although they don't completely leave the hardcore behind, as on "Not Your Prey." Twin-guitar riffing offering an arsenal of edgy, Ginn-inspired squalls. “There’s No Hope For The USA,” is a bit of protest music for the New Dawn, a comment on “the perfect storm of human trash.” “Trend Setter” packs a whole lot of sarcastic snark for its tongue-in-cheek putdown of every stereotypical punk subgroup you can think of. (www.sorrystaterecords.com)

UBIK-s/t (demo) 

This Melbourne band's demo has been logging a lot of time on my various musical playback devices. A tuneful post-punk meets anarcho-punk sound. Ash’s vocals have an engaging quality, with a passionate cadence. One song is about a right-wing Australian crank named Andrew Bolt, who seems to be a racist, down-under counterpart to the Breitbart acolytes that pollute the political stream in this country. A stirring message and stirring, sharply-played music (ubikpunk.bandcamp.com)

VIVISEKTIO-Ydintalvi (multi-label, 7") 

This Finnish band was around the in 80s and got back together in 2008. Their latest 7”, the title of which translates to “Nuclear Winter," is a power-packed outing. Four old-school Scandi-core rippers plus the more melodic, gothy title track, which is actually the highlight. An urgent, spirited male/female vocal tandem, along with the full-on musical attack. (band contact: vivisektio83@gmail.com)

WARTHOG

WARTHOG-s/t (Beach Impediment, 7")  
Four new tracks of brutal hardcore from this NYC wrecking machine. It's a fusillade of big guitar chords, pulverizing bass and drums and Chris Hansell’s rage-filled vocal howls. Three fast ones and then the brooding ‘n powerful dirge “Coward,” which was a set standout at the last Boiler Room show in Boston, and that song has a fast and blazing conclusion. Big and nasty-sounding. (beachimpedimentrecords.bigcartel.com)

WETBRAIN-s/t (Residue, 7")

Five new songs (including a cover of a song by one of guitarist Shaun Filley's old bands Possessor) and it's another dose of Clevo HC. Not as blown-out or raw-sounding as the old-time purveyors but these are still throttling songs with hot guitar licks. If there's any sort of theme, it's how people get anesthetized by their social media while staying in the dark about drone strikes and other political malfeasance. Cynical punk for cynical times. (www.residue-records.com)

X=-5 Walls (self-released, LP)

This Pennsylvania band have a number of releases under their belt, dating back to 2012, but “5 Walls” 12” is the first I’ve heard. Impassioned hardcore with lyrics that look at the state of the world, sometimes in straightforward fashion, sometimes a bit more obliquely. A mish-mash of fast hardcore, more melodic compositions (such as the ear-grabbing “Body of Evidence”) and some songs that stretch into a rock-meets-Fugazi vein, as with the title track. Makes me think of some of the late 80s/early 90s hardcore bands where they were moving into more tuneful realms. It’s not 100% successful but there are stirring moments. Beautifully-packaged in a screened sleeve with a screened lyric book and on clear vinyl. Only 100 of ‘em, too. (exequals.bandcamp.com)

BOOK REVIEW

Spoke compiled by Scott Crawford, Akashic Books

Subtitled Images and Stories from the 1980s Washington DC Punk Scene, this book is essentially a coffee table tome that provides a primer to that city's legendary punk legacy. Crawford has been immersed in the scene since he was a pre-adolescent in the early 80s, going to shows and publishing Metrozine. He also produced the documentary film Salad Days, which got some mixed reviews--I liked it but some found it a bit stylized, some were disappointed that it didn't have more of a hardcore emphasis--but DC's punk universe was always evolving and expanding. That's captured here. It's an oral history format, with quotes taken from the film, accompanied by striking black and white photography and a clean layout. The narrative is a little choppy but you do get different perspectives--I especially liked the candor from the various members of Dag Nasty. Done chronologically, starting with Bad Brains and the HarDCore bands, through the "Revolution Summer" period--Embrace, Rites of Spring, Beefeater and Gray Matter--and ending where things got much more diverse--Fugazi, of course, bands like Ignition and Swiz taking a page from the earlier era, the more rock-oriented, melodic sounds of Jawbox, Soulside and Shudder To Think to the provocative, unclassifiable Nation of Ulysses. Band members, photographers, label people and fans get their say, including an outsider perspective from the ubiquitous Thurston Moore. It's not a comprehensive history--that's been covered in other books--but Spoke works very well as a visual artifact. (www.akashicbooks.com)

Suburban Voice blog #121--The Best of 2016

No one wants to read yet another intro about how shitty a certain year was but, alas, 2016 really, really sucked. Two friends of mine—Brandon Ferrell and Shawn Wenzel—passed away this year, as did some other people I was acquainted with, including John Stabb and Barker Gee. Good people, all of ‘em. Then there’s what happened in early November. At least on a personal level things are tolerable and I always try to stay cautiously optimistic. What else can ‘ya do? And there’s still lots of good punk rock to help me (and many of you, I’d imagine) get through it.

Note: this list has a few changes from my list for Maximum Rocknroll. I had to submit that in early December and came across a few other releases since then that deserve to be in this top ten. I've also appended it with other choices for 12"s, 7"s and demos, as well as live performances...

Happy New Year!

THE TOP TEN

1. BLOOD PRESSURE-Need To Control (Beach Impediment, 12”)

As much as hardcore has become predictable and perhaps a bit stale, there are bands who push the envelope a bit and Pittsburgh’s Blood Pressure are one of them. Nothing complicated—loud as fuck rage, from the vocals to the music’s relentless nature, imbued with a Swedish/d-beat tilt. It’s over before it hits the 13 minute mark but to use the cliché, it’s quality, not quantity. Best live band I saw in 2016, as well, as they ripped apart the late, lamented Boiler Room.



2. REPOS-Poser (Youth Attack, 12”)

A pain in the ass tracking down a vinyl copy of this but worth it, as this is the best Repos material since their first two 12”s. As with Blood Pressure, there’s nothing complex. Blistering, aggressive hardcore done right and the production brings out the band’s ferocity without making it sound slick. Only a few songs top the minute mark and it’s one rager after another.

3. JOINT D≠-Intelligence (Scavenger of Death, tape)

I didn’t know there was going to be a new Joint D≠ album, as it’s been a few years since Satan Is Real Again, Again. That was a fine effort (and their first album Strike Gently topped my list in 2012) and this one is even better, packing much more of a wallop. A burning and intense sound, with a complexity in the arrangements while maintaining a straight-forward forcefulness. I love the clever nod to the Swell Maps, with the titles of two instrumental passages, “The Weather ///” and “/// The Leather,” which comes from that band’s “Vertical Slum.” “Atlas Rote” is a nice little dig at Ayn Rand and that’s reinforced by a burning copy of Atlas Shrugged on the cover. Just available as a tape or in the digital format for now, although Sorry State is doing a vinyl pressing in 2017..

4. QUANGO-Fatality (Danger, 12”)

This is technically a 2016 release, although the songs were originally released in demo and 7” forms in 2013, with a few different permutations. Got that? Anyway, there’s a certain sepia-toned quality to the songs here—an aged, vintage feel. The title track is a total earworm, a stinging guitar hook accompanying a spoken word narrative about someone getting hit by a train. Punk and post-punk mixed together, in glorious low fidelity, inspired by Swell Maps, Buzzcocks and Joy Division's Warsaw era. A heady bash throughout.

5. VIRUELA-s/t (Runstate, tape)

Two people from Mexico, one from Montreal (who played in Dead Wife) and they've already come and gone but left behind one hell of a demo. A thick, blistering and pounding punk sound with buzzing guitar and bass. The lyrics take no quarter at all, especially on "Gettin' Home," telling predatory misogynists to fuck off--"if you touch me, I'll fuckin' kill you." "Never Enough" is about sexual assault. In a time where sexual violence is as much a fact of life in the punk scene as well as the "real world," those are words to be heeded and they're reinforced with a good swift musical blow to the skull.



6. RUNNING-Wake Up Applauding (Castle Face, LP)

Kind of an unheralded band, in my opinion, although I'm kind of out of the loop as to what's heralded or not. Third album from this Chicago three-piece and it's another furious, howling bit of drill-press rock. A screechy, squalling ultra-fuzzy guitar tone ala Helios Creed and you can hear bits of Chrome's harder-edged material, without the experimental impulses. This is very much a punk concoction, if your conceptions of punk branch beyond the ordinary.  

7. NOTS-Cosmetic (Goner, LP)/Cold Line (Goner 7”)

Memphis’s Nots conjure up a scintillating concoction of post-punk and cold wave on their second album. Percolating compositions with synth washes, guitar effects and sarcastic vocals. This isn’t a goth revivalist unit by any stretch. The best qualities of the band come together for the 7+ minute mind-numb of “Entertain Me.” There was a single released beforehand, with a different, slightly more minimalist take on album track “Cold Line,” backed with a driving, repetitive cover of The Normal's “TVOD” and that’s also worth seeking out.

8. NANDAS-s/t (Toxic State, 7”)

This NYC band have the Crazy Spirit/Dawn of Humans sound down pretty well. Four quick songs with buzzing guitar and bass and thumpa-thumpa-thump drums, presented with barbed-sounding production. One slight change is Anahit's vocals are breathier than on their 2014 demo. While some of the musicians who developed this sound are moving on to other things, Nandas keep it alive.

9. LEISURE WORLD-s/t (demo)
Leisure World are a band who don’t really fit any sort of set hardcore or punk genre. Their seven song demo has them carving out their own path, with sputtering and frayed guitar licks and a manic intensity topped off with nightmarish vocals. Outsider hardcore? Yet another genre? Just listen to the demo. They make their own nervy sort of noise, with the axe-mangling accompanied by a thick, propulsive bottom end. It’s kind of along the lines of what Bill Bondsmen or NASA Space Universe do and one can hear some Pissed Jeans-ish touches, as well. The gut punching recording brings out those attributes in bold, head-grabbing relief.

10. LUMPY AND THE DUMPERS-Huff My Sack (Lumpy, LP)

I was laughing like a junior high kid when I saw the album’s title and cover. Lumpy’s 12” debut (besides the singles comp) revels in its bad attitude, driven by Marty’s nasally vocals and a prickly (sorry) sonic dust cloud. Brief, thorny blasts save the epic “Spider Bite” and moody, nasty cover of the somewhat obscure UK band Slime’s “Loony,” a band that included the Damned’s Captain Sensible. Scabrous punk at its best.

THE REST OF THE BEST

12"/LP
EX-CULT-Negative Growth
MONGOLOID-Plays Rock and Roll
REACHAROUNDS-Hunter Gatherer
SCUZZ-Songs Of The Sordid
SUNSHINE WARD-Order

7"
ANCIENT FILTH-Earth Brains (flexi)
DAUDOFLIN-Drepa Drepa
DYE-Savages With Power
G.L.O.S.S.-Trans Day Of Revenge
JJ DOLL-s/t

DEMOS

BASEMENT RAT-Pura Mujer
GROTTO-Manic Evil
MACE-Tour Tape
SPOTTING-s/t
TRASH KNIFE-s/t and Trash Life

                             LATEX

LIVE
BLOOD PRESSURE
CAREER SUICIDE
CONCEALED BLADE
DEATH SIDE
DOUBLE NEGATIVE
INFEST
LATEX
MOMMY
PROLETARIAT
WARTHOG

Suburban Voice blog #120

BOILER ROOM R.I.P.

Since our last installment, one of Boston's most vital DIY spaces has closed. The Boiler Room had quite a bit of longevity, lasting just a little over three years until it closed in early June—the last show was actually in late May but  that wasn't the intention. For those of you who never got to visit the Boiler Room, it was in the basement of a delapidated building in the middle of a truck lot in Allston. The relatively isolated location probably allowed it to last as long as it did. The shows there had a generally late starting time. I used to refer to it as "Boiler Room O'Clock," which usually meant about 2 1/2 hours after the listed starting time--that's when you would know about the shows in the first place. The people running the space eschewed and discouraged creating on-line events and if you weren't "in the loop" or got a flyer, you often didn't know about the shows. But word of mouth was effective since almost every show was full. And the shows were crazy--loud, smoky and it wasn't surprising to be bombarded by showers of beer or various types of fireworks. Even with all the chaos, everyone seemed to get along, for the most part. I don't recall seeing any serious altercations, although I guess there were a few from time to time. And the acoustics were better than most clubs I go to, although if there wasn't a good PA, the vocals were sometimes tough to hear.

FUN AT THE BOILER ROOM

A few months ago, there was an investigative report on one of the local TV stations, about how there was an “illegal late night party” in a loft building around the corner from where the Boiler Room was. The reporter, Mike Beaudet, who also teaches journalism at Northeastern, sent in three “undercover” students, to conduct an investigation as a class project. They’d found out about the “concert,” as one of the reporters described it, on-line and there was actually an advance ticket sale, with the location being disclosed a few hours beforehand. With techno music thumping in the background and ominous narration, hidden-camera video was taken and it showed a cash bar (with no ID required—oh nooooo!!!”). It showed people using marijuana and cocaine (the HORROR!). The report also said that there had been more than 30 of these underground events in the last two years. I guess the people behind this report don’t get out that much. The city inspector talked about “inappropriate use of space that puts people in a dangerous situation.” Is he sure he isn’t talking about city hall?

This was the same building where three DIY spaces were shut down at the same time in 2013. They’d hosted shows with bands that probably wouldn’t have been booked in local clubs and, truth be told, the shows would have been a lot lamer in those venues. There were never any problems, just people getting together to see bands and have a good time. Something the city officials apparently consider to be a serious crime.           

Same as it's always been... a big game of venue whack-a-mole and I'm sure another one will emerge at some point. 

LOUD, BLARING PUNK ROCK...
... that was the original name for the Albany based Loud Punk label and Mr. Chris Lawrence continues to release a steady stream of records from bands around the country and overseas. Beginning in his neck of the woods, there's the debut album from Scuzz, Songs of the Sordid. following a few demos, a 7" and split with Male Patterns. Over the course of 18 or so minutes, they unleash the hardcore fury with few breaks between songs. Bringing back pleasant memories of bands like 9 Shocks Terror or even their Albany forebears The Jury. Fast and frenetic, without going completely out of control, just a buzzcloud of pure energy and the penultimate track is a successful stab at The Mad's "I Hate Music." I Maniaci is basically the Neon Maniacs incognito. This two song, one-sided 7", Clone My Cock" and "Snoopy Is A Paedophile," w recorded in 2010. A pair of enjoyably-scabrous, snotty, guitar-driven rockers.

The other three Loud Punk records are of varying vintage--Lower Class Brats' Primary Reinforcement Plus covers this Austin band's 7" output from 1995 to 1999. A lifetime spent watching A Clockwork Orange and The Warriors (their label is Orphan music and they had a song about that gang on another record) and listening to a steady diet of 80s-era UK punk 'n Oi--Last Resort, Blitz, etc. That was the blueprint for the earlier songs but they eventually added more of a driving rock 'n roll element. Some fist-pumping, singalong rousers here, particularly their final salvo, "Rather Be Hated." This is an expanded version of a 1997 compilation of their first three 7"s.

Slightly less-enticing is a reissue of Scottish band External Menace's 1997 album The Process Of Elimination, appended with a few unreleased songs. Instead of the rough 'n scrappy punk produced by the earlier lineup of the band, the songs here have a lighter touch, with bits of reggae and funky bass parts. The bass parts are overplayed and are more prominent than the guitars at times. It's still energetic on occasion--"The Process Of Elimination" and "Bullet Of Persuasion" are punchy punk ravers but there's not enough raw energy.

That's not the case for another Scottish band, Last Rites, with the re-release of their 1984 7" (their second) Fascism Means War. '82 in '84, keeping the ragtag punk spirit alive when some other bands were "evolving" a bit. Mainly loud 'n fast and "Convicted Without Trial" adds an oi-ish element to the buzz. A worthwhile unearthing. (PO Box 6115, Albany, NY 12206, www.loudpunk.com)

... and more noise...

ANCIENT FILTH

ANCIENT FILTH-Earth Brains (self-released, flexi)
Well, six years in and Ancient Filth still haven't released a 12". There have been two 7"s and some demos and the band's latest installment is this three song flexi and it's another ripping effort. Full-tilt hardcore with sputtering guitar lines and kickass drumming to go with Matty's vocal rants. But he's not just mindlessly ranting--the title track is a riff on a passage in Kurt Vonnegut's The Sirens Of Titan--yes, I looked it up--and the refrain is "terror grief desolation comes to every earthling nation." There are feelings of helplessness and that's often been expressed through this band's lyrics. Still one of Boston's best and with the usual quality packaging, with this release including a lyric booklet and poster. (www.frankleclair.com/AF)

ASCEND/DESCEND-Murdock Street (War Fever/Dead Tank/Tor Johnson, LP)
Driving hardcore fusing thick riffs and heaviness with Scandi-thrash but there are melodic nuances, such as the guitar tone on "Murdock," which is named after a street in Allston but is thematically about personal turmoil.That applies to a number of songs here. "Trigger Warning" throws the currently disparaged and mocked term back in people's faces, dealing with the aftermath of a rape--so the next time someone makes jokes about safe spaces, perhaps this song should played back at them at full volume. Michelle pours out her heart with plenty of anger and emotional heft and the latter applies to the music, as well. (www.torjohnsonrecords.com)

BARRICADED SUSPECTS-s/t (Closet Landscapes, 7')
"Fuck This Shit World"... yeah, I'd say that fits the attitude of this Nashville band. Barricaded Suspects, who I'm guessing take their name from the old Toxic Shock compilation album, come storming out the gates with a simple, straight-forward hardcore attack. Loud, fast and pissed and I doubt they'll be playing the Grand Ole Opry or any other "respectable" venue anytime soon. (PO Box 60294, Nashville, TN 37206, barricadedsuspects.bandcamp.com)

BILL BONDSMEN-Until The Razor Cuts (Mastermind, LP)
The Bondsmen have been around for over ten years and Until The Razor Cuts is only their second full-length. In fact, it was culled from two recording sessions, one in 2011 and one in 2014. Some of the non-LP selections from the 2011 session already appeared on various 7"s. Another dark and intense collection of electrifying, nightmarish punk. The latter also perfectly describes Tony's cutting, soul-purging vocals, which have just enough distortion on them to enhance the effect. In addition to the straight-ahead fury for the bulk of these songs, there's new territory explored. "Gears" has a sinister aura, adding some spooky-sounding organ to a deliberate, mind-messing excursion. The knife pictured on the cover and the title give you a pretty accurate picture of what's on the vinyl. (mastermindrec.com; billbondsmen.bandcamp.com)

BLACKBALL-Visions Of The Third Eye Undone (Sorry State, 7")
Bone to pick, eh? That's not only the first song on this record but the overall feel from this band from Richmond and Raleigh. Ericka emits pure bile and the sound mixes slam-bang US hardcore with some Scandinavian influences along the lines of a band like Talk Is Poison. Rage you can feel. (www.sorrystaterecords.com)

BORN WRONG-s/t (Schizophrenic, LP)
The first 12" release for this somewhat unheralded band from Hamilton, Ontario. Blistering hardcore full of pent up rage and enough off-kilter ear damaging properties to separate it from the mundane. That lasts from the floor-pounding stomp of "Nailed" until the all-out speed-driven onslaught of "How Will I Survive." Lamentations of a harsh existence--for instance, anyone dealing with a soul-sucking job will be able to relate to "Disposable" and those words are delivered with a pain-drenched howl. The accompanying poster is an illustration of a pretty winter scene, children playing in front of a mansion. But flip it over and you're confronted with a drawing of genome surrounded by "your life is a prison" and the front side seems to be but a fantasy and not real life for many people. If you haven't been paying attention to this band and the likes of Hoax, Glue or Gag float your boat, you will love Born Wrong. Limited to 300 copies. (17 W. 4th St., Hamilton, ON CANADA, L9C 3M2, schizophrenicrex.com)

THE BROOD

THE BROOD-October Dreams (tape)

Another strong (their third) release from Philly's Brood. In case you forgot, this band includes people from Witch Hunt, Lost Cause, Endless Nightmare and many others. Plenty of burn, embracing Swedish hardcore and some UK anarcho punk (particularly on the title track). And, with age, optimism continues to fade, if it was ever there to begin with. "Dying Futures" sums it up succinctly, beginning with Ned's howl and everyone exulting "Nothing to hope for, no one to care, nowhere to go, no one is there" although the message is more that this is the only life and there isn't anything beyond that. Make the most of it, I suppose. This at least provides a cathartic release. (www.filthybrood.com)

COMFORT-No Hurt (tape)
Power-packed hardcore from down under--Brisbane, to be exact. (do Aussies call us Americans "up over"?). Comfort shift easily from thrash to heavier, moodier, darker shadings, with a pulverizing instrumental skill and full-throated vocals. Taking a few moves from Bl'ast, such as occasionally whispered vocal on opening track "Grief Toilet" and the driving "Not About You," which also adds a haunting guitar lick. Nothing comforting here. (comfortzenwar.bandcamp.com)

DEVILS-s/t (Voodoo Rhythm, CD)
A fierce two-piece garage punk dynamo from Italy and boy do they make a racket with such a minimalist lineup. Ten songs varying between revved-up ravers and bluesier stompers, three of 'em being instrumentals. Satan's on the thank-you list, of course, and the song titles reflect the devious subject matter, poking fun (pun intended) at the Catholic church, in particular, as the guy and gal who comprise the Devils dress in religious finery. Both contribute vocals although drummer Ericka Toraldo takes the mike most of the time. Fuzz and bash that's formidable enough to shake up your very soul. (www.voodoorhythm.com)

FLESH RAG-s/t (Schzophrenic, 7")
While listening to this, I was thinking these guys sound a little like the TV Freaks and it turns out their drummer Nathan is in that band. Actually, I like this better than the most recent Freaks material--this is ass-kicking garage punk delivered in no-nonsense fashion. "Stay Away" is acting kind of Childish, if you can read between the lines. "Tonight" is a butt-shaking rocker and "Watch It Burn" is brief and furious. This is how 'ya do it. (17 W. 4th St., Hamilton, ON CANADA, L9C 3M2, schizophrenicrex.com)

FRIED EGG-Delirium (Negative Jazz, 7")
A hammering hardcore concoction and the title is fitting, with the ranting vocals, which are similar to Aaron from the Repos, delivering the words in a machine-gun cadence. In fact, a song like “Second Fiddle” isn’t far off from what that band does. “Mixed Feelings” has a rock ‘n roll flavor in the guitar shadings but there’s a dark intensity, especially on the pounding “Eggshells.” (negativejazz.bigcartel.com)

GET OFF THE COP-Lipstick Tim (Schizophrenic, 7")
Brooding, tension-filled bash centered mainly around thick-as-molasses bass-lines and cymbal-smashing drumming, to go with the Yow-ish vocal emanations. "Beef Babe" is a dose of stop 'n start squall but the other pair of songs (one of 'em, "Golden-Hair/Making Love" is actually a two song suite, I guess) follow a more deliberate path to your skull. (17 W. 4th St., Hamilton, ON CANADA, L9C 3M2, schizophrenicrex.com)

GLITTER

GLITTER-Toy Of A Toy (Lumpy, 7")
I caught this Calgary band at a basement show in Jamaica Plain a few years ago. I hadn't heard of them before and they turned out to be a very pleasant surprise. Their 12" was a feisty delight and it's more of the same for their debut on Lumpy. Yowling vocals and a mesh of barbed guitar and loping bass lines, compressed in a morass of trebly garage-punk-noise and the guitar and bass lines that start the songs on each side--"Garden" and "Merry Xmas"--have an ominously haunting quality. Lumpy is the perfect home for them. (spottedrace.bigcartel.com)

HERO DISHONEST-Liha Ja Teräs (Peterwalkee, LP)

The album's title translates to "Meat and Steel" and Hero Dishonest continue to dish out fast, frenetic hardcore that's never fit any pat category. When they stay away from the pure thrash, things get a little more interesting. The likes of "Suomi On Rasistinen Perahikia," "Sepalusten Laskija" and "Donitsit" all have a snaky intensity that show off muscular, edgy chops to go along with the harsh-tongued vocals. Even in a speedier track like "Viulut Vireeseen," the instrumentation is tight and dynamic. Not the best album I've heard from them, but still quality stuff. Only 100 copies for the first pressing. (www.peterwalkeerecords.com)

IMPULSE-Backbreaker (To Live A Lie, 7")
Not your typical grinding stuff at all. If anything, Impulse lean more towards floor pounding hardcore and the songs come and go in a flash--11 of 'em jammed onto this 7". There's the occasional blast-beat but it's used sparingly and all of it is tightly-executed. (www.tolivealie.com)

LEISURE WORLD-Demo (tape)
There are bands like Bill Bondsmen and NASA Space Universe who don't fit into any strict hardcore genre, hewing to their own muse. This usually encompasses sputtering and frayed guitar licks and a manic intensity topped off with nightmarish vocals. Outsider hardcore? Maybe I just invented another pat description but it fits. Anyway, that's how I'd describe Leisure World. Beholden to no specific group, just making their own nervy sort of noise, with the axe-mangling accompanied by a thick, propulsive bottom end. You can hear bits of Pissed Jeans in there, as well, especially on the closing "Real Manly MEN." And the gut punching recording brings out those attributes in bold, head-grabbing relief. (leisure-world.bandcamp.com)

LUMPY AND THE DUMPERS-Huff My Sack (Lumpy, LP)
I had a nice Beavis and Butt-Head-type laugh when I saw the title of this album, as well as the scatological artwork. Martin, er, Lumpy is one provocative character and I'm risking getting slapped by his nutsack by writing this review but so be it. "HMS" is Lumpy's first 12" opus (get your mind out of the gutter), not counting the previous anthology, and it's scabrous punk at its best--nasally vocals and a prickly (sorry, again) sonic dust cloud. "I'm Gonna Move To New York" mentions being like Thurston Moore but sounds more like a tribute to Crazy Spirit. The cover song here, "Loony" (he spells it "Looney") is an obscure '78 b-side by the UK band Slime. If the guitar line sounds like the Damned's "Suicide," that's because Captain Sensible played guitar on the original and Lumpy's version sounds even nastier. Brief, thorny blasts, except for the aforementioned "Looney" and epic (all 3+ minutes!) "Spider Bite." (spottedrace.bigcartel.com)

MAD EXISTENCE-s/t (Vinyl Conflict, 7")
Mad is RIGHT... these guys sound mad, ticked off, enraged and whatever other adjective you wish to use. Hardcore with a brawny, stomping vibe along the lines of Wasted Time and 86 Mentality. "My Richmond" is a parochial lament or--more accurately--an unhinged expression of anger about losing their city to police oppression and an annoyingly transient population. That'd be my guess, anyway. Whatever the case, this is pummeling fodder, as subtle as a boot to the face. (324 South Pine St., Richmond, VA 23220, vinylconflict.com)

MONSTERS-The Jungle Noise Recordings (Voodoo Rhythm, CD)
A collection of mid-to-late-90s material from Voodoo Rhythm patriarch Rev. Beat-Man Zeller's longtime band. "Jungle Noise" was a 10" release and the remainder is culled from various 7"s, etc. The Monsters started as more of a rockabilly style band but eventually embraced a tougher garage focus, although they embrace different shades here--bare-knuckled fuzzbusters, heavier blues ("In Hell") and rootsy, pre-British Invasion rock 'n roll. At the center of this is Beat-Man's razor-sharp rasp and he sure ain't no crooner. Even with the occasional dud (their cover of Ricky Nelson's "Lonesome Town" falls flat), there's a good amount of rantin' and ravin' quality to be found. (www.voodoorhythm.com)

NANDAS-s/t (Toxic State, 7")
This NYC band have the Crazy Spirit/Dawn Of Humans muse down pretty well. One song is titled "Dawntown" and perhaps that meant to be tongue-in-cheek.The four quick songs feature buzzy guitar and bass and thumpa-thumpa-thump drums, with barbed-sounding production. One slight change is Anahit's vocals are breathier than on their 2014 demo. Comes with a fold-out poster and small lyric book. More New York punk goodness. (nandas.bandcamp.com)

OBEDIENCE-2016 Demo (tape)
Some ripping hardcore from this Austin band, which features ex-Tear It Up frontman Dave Ackerman, along with people from Breakout, Severed Head Of State, Critaturas and more. Drummer Chris Pfeffer provides a formidable engine to this band's full-tilt sound, throwing in d-beat bash, although Obedience don't strictly fall into that category. It's just high speed pillage from start to finish, with Dave barking out the words with as much anger as always. And without naming names, there's plenty of disgust with what's going on in the contemporary political universe and, sadly, some things never change. (obedience.bandcamp.com)

OPEN WOUNDS-s/t (Refuse, 12")
A Dutch band that includes Vitamin X vocalist Marko on guitar. Pretty straight-forward old-school, melodic hardcore, mainly hewing to a loud/fast approach, although they go for more of a singalong punk style on "Shades of Grey." Peppy and well-played, with bright, energetic arrangements, although they don't really push it to the next level. (www.refusemusic.net)

PRAGMATICS

PRAGMATICS-No Rules, Just Fashion (Prax, 7")
Four songs of brawny, catchy punk rock 'n roll with people from such Boston bands as Fruit Salad, Garbage Strike, St. Ripper and plenty more. Sentiments worn on the sleeve--OK, I'm using a bit of a pun for the title track, about fashion punks and scene status and these guys have been around long enough to know exactly what they're talking out. And they also know how to keep it simple and play with a lot of heart. (pragmatics.bandcamp.com)

RAKTA-III (Iron Lung, LP)
Rakta have pared down to a three piece, eliminated guitar as an instrument, and have moved into more of an experimental realm for their second full-length album. An entrancing effort, a collection of soundscapes, with lengthy instrumental passages, tribal drumming, propulsive bass-lines and an array of vocal, synth and keyboard effects. Don't let this fool you into thinking it's soothing, ambient music--there's still a directness in some of the compositons but not as much as on the debut and I have to admit that their first album, with more of a straightforward goth flavor, will probably remain the go-to one. But for those times you want something more sense-enveloping, "III" more than does the job. (ironlungrecords.bigcartel.com)

RIK AND THE PIGS-Life's A Bust (Feel It, 7")
These guys have been around a few years but I’m late to the party and his/their latest, Life’s A Bust, is my introduction. Turns out Rik is :Lumpy's older brother and, although the Pigs aren’t really sonically similar, it’s still against the grain stuff, from the artsy garage/post-punk of “Vile Order” to Conheads-ish “Nothing” to the slow-burn swamp blues of the title track, which kind of pales in comparison to those sharper, briefer tracks. It’s enough to make me go back and explore earlier releases. (feelitrecordshop.com)

SEX HOGS II-Part One (Diaper Cake, tape)
An excursion into 50s and 60s-inspired rock 'n roll, with rough 'n tumble vocals, accompanied by guitar, drums, tambourine and occasional sax, plus bass on one song. Energetically-executed (except for the slow-dance ballad "Sacrifice") and while it's far from polished, if it was a lot dirtier-sounding i.e. even lower fidelity than it is, it'd probably hold more interest for me. (sexhogs.bandcamp.com)

SLANG-Devastation In The Void (Prank, LP)
Long-delayed US release for the latest album from this longtime Sapporo, Japan band (home of the 1972 Winter Olympics! Japan scored three medals) and it's a scorcher. Slang started out, many years back, as a NYHC-inspired hardcore band but that's long in the rear-view mirror. Their sound is an assimilation of Burning Spirits hardcore--hoarse, agonized vocals and a hard-charging attack. That means there's a fair amount of crossover metallic riffage, taking a few bows in Slayer's direction. Relentless and furious. By the way, it turns out that Sapporo is in the running for the Winter Olympics in 2026 or 2030. Maybe Slang can play the opening ceremonies. (PO Box 410892, San Fransciso, CA 94141-0892, prankrecords.com)

TRASH KNIFE-Trash Life (Endless Daze, tape)/Trash Knife (tape)
A pair of releases from this Philly band. "Trash Life" is the older of the two and has since been released on a 7". Anyway, some tuneful punk/rock'n roll. Not pop-punk but the songs are infused with a bit of garage snarl. The vocals have a sing-songy sarcasm (how's that for alliteration?) but there's a subtle anger. "Kill Your Selfie" is a well-aimed barb at self-absorbed smartphone snappers and "Tips" deals with the frustration of restaurant work. On the more positive side, "Ronda," about the UFC fighter, is a bouquet to the former champ and it's one of the catchiest songs here. Engaging stuff. (endlessdaze.storenvy.com; trashknife.bandcamp.com)

TV FREAKS-BYOT/The Pits (Schizophrenic, 7")
What happened? This band's first two albums were killer but the third, "Bad Luck Charms," was something of a letdown (I never got a copy, just heard MP3s)--not awful, in fact some of it grew on me a bit, but some songs lacked the kinetic spark of before. Sad to say this single isn't that hot, either. "D.Y.O.T." is four-minutes-plus of mid-paced rock that never really takes off. "The Pits" is better--some wild 'n wooly, stompin' slop but still not quite up to previous levels. (schizophrenicrex.com)

UROCHROMES-s/t (Lumpy, 7")
Six of the eight songs from their "Get In Line For Mental Decline" demo and these Western Massholes have a somewhat unclassifiable sound. Loud and boisterous with different strains of punk, hardcore and garage filtered through and it's a thoroughly rockin' concoction. To add a different wrinkle, they use a rhythm machine and it adds quite a wallop, along with the snarling and sneering vocals. (spottedrace.bigcartel.com)

VAASKA-Futuro Primitivo (Beach Impediment, 7")
Nothing new to report here--Vaaska keep cranking out one solid d-beat hardcore disc after another. Truth be told, I kind of miss the semi-melodic warm guitar tone from the early records since that added a different wrinkle but this is still sturdy, streamlined, floor rattling stuff. They also stand above the pack a bit by merit of Victor Gutierrez's formidable guitar shredding. Originally released in Japan for their tour there and now given a US pressing. (beachimpedimentrecords.bigcartel.com)

VARIOUS-No Sun Shines Here (Ryvvolte, 7")
The sleeve is a bit of a riff on the Mob's "No Doves Fly Here" and this collects six of the current crop of Philly hardcore bands from the more aggressive side of the spectrum, bands that operate in heavier, crustier realms. The Brood get things off to a rattling, d-beat infused start. Dronez, Alement and Incisor have heavier crust inspirations, while Dopestroke (the one defunct band here) have a more traditional hardcore sound. Interloper wraps things up in a fast, stripped-down fashion with the cleverly-titled "Rizzo Baby Attacked By Rats," as in Frank Rizzo, the fascistic former police chief and mayor. Nothing terribly groundbreaking but a good representation of one part of Philly's vibrant scene. (ryvvolterecords.storenvy.com)

X45-EP2 (tape)/EP1 (tape)
This Hamilton, ON band, with people from School Jerks and Born Wrong, kick out some tough rockin' n' rollin' stuff. Their first tape, released earlier this year, somehow got lost in the pile and that shouldn't have happened because both of 'em are pretty damned good. It has a proto-punk feel ala Crime, possessing an insolent swagger to go along with the Thunders-punctuated buzz. Attitude to spare. (exfortyfive.bandcamp.com)

BOOK REVIEW: 

Descending Memphis by Robert R. Moss (Valor Books, 195 pages)

Rob Moss's roots are in the DC hardcore scene, having played in Government Issue and Artificial Peace but this novel doesn't touch on his punk roots--at least on a superficial level. Descending Memphis is a gritty crime story with a slight musical twist that's set largely in Memphis in 1956, at the dawn of the rock 'n roll era. Told in the first person by the novel's protagonist Tommy Rhodeen, it's a tale of his yearning to follow a passion for music, having recorded a demo for Sun Records but he's ended up working as a private investigator, mainly employed to retrieve people's property--cars, jewelry, etc. His Aunt Norma is trying to convince him to become an auto mechanic, something he doesn't desire to do because he fears it will trap him in a dead-end life.

One day he get summoned by a wealthy businessman to retrieve something quite a bit different--his daughter Helen, who has vanished, seemingly into the seedy underbelly of Memphis's music scene. Tommy spends a lot of time pursuing Helen, coming up empty and getting himself into a whole lot of trouble along the way--drugs, murder and political corruption all play a part in the story. There are racial elements, as well, and while Tommy uses terms like "colored," he doesn't come across as a racist as it's revealed that a black laborer at his house was the person who taught him how to play guitar and planted the seed for his musical passions. There's a wariness between the races, a lot of (understandable) mistrust, but it's not a main part of the plot line.

It's not too tough to figure out the gist of what's going to ultimately happen and the threads of the story seem a bit disjointed at times. There's an undercurrent of finding one's way in life, figuring out the path to follow. Is this all Tommy is going to be doing with his life or is there something more? A fun, pulpy read.

Suburban Voice blog #119

BLOOD PRESSURE

ADVLTS-Black Bile (Toxic Pop, 7")
Baltimore band (and, yes, the spelling is correct) who have apparently revamped their lineup since their first EP and brought in Mike Riley (Paper Dragons, Pulling Teeth) on vocals and Brendan Bartow (Fuses--an unjustifiably overlooked band) on guitar. Driving punk but there's a nervy, semi-post-punk feel to it, as well. Not just straight powerchords, but an edgy jab in the guitar lines, along with a strong bass/drums tandem. The basslines on "Fortune Teller" provide a strong thrust. The most straight-ahead rocker is opening track "Do The Adult," spitting out the facts of grown-up living--losing jobs, wives, kids, hair, teeth and, ultimately, your mind. Not a band soundtrack to listen to while a lot of that inevitably happens. (www.toxicpoprecords.com)

ANEURYSM-Veronica (Tor Johnson, 7")
Dark 'n scary rock that's tick and tumultuous and, yes, there’s a whiff of early 90s heaviness (notice I didn’t say grunge) but it’s more twisted-sounding. “Dio, Priest and Maiden” won’t make you think of any of those bands, as this ain’t no NWOBHM trip unless you want to call it New Wave Of Bashing Head Music. A chaotic mess and that’s not necessarily a bad thing. (www.torjohnsonrecords.com)

BANDAGES-North Carolina Singles Series (Sorry State, 7")
Bandages includes former members of Double Negative and Pollution. Both songs, “All Extreme Measures” and “Tokyo Car Wash” are riff monsters and the former balances the heaviness with a burst of speed. A merger of Bl'ast, Melvins and early Helmet? Maybe. Intense stuff. Their guitarist Scott Williams they've moved beyond this already and also recorded an album that ended up shelved. Curious to hear what follows.

BLOOD PRESSURE-Need To Control (Beach Impediment, 12")
One of the best records and best live bands I've seen so far this year. Nothing complicated—this is just full-tilt hardcore bile with a Swedish/d-beat drive. Savage riffery, full-throated vocals and executed with a single-minded relentlessness without a break to catch your breath, except when flipping the record over. In short, it kicks fucking ass. I think that pretty much covers it. (beachimpedimentrecords.bigcartel.com)

COMMANDO-Come Out Fighting (More Power, tape)

Punchy, catchy rocknrollinpunk by this Western NY band, who have already broken up. Along the same lines as the Marked Men, although there's a tougher edge to it. It also doesn't hurt that Brandon Ferrell (Direct Control, Government Warning, etc) is behind the drum kit, because he adds a huge kick to the proceedings. They work in some west coast punk moves, as well. And being from that part of the state, it makes sense they'd have an ode to Genesee. Sorry they came and went so quickly. (*note: this review was written before Brandon's untimely death--R.I.P.) (PO Box 467, Buffalo, NY 14226, morepowertapes.bandcamp.com)

CØNDITIØN-Actual Hell (Iron Lung, 12")

Pulverizing sonic devastation from this LA band. A relentless Dis-inspired frenzy (although you can hear some Japanese touches in there, as well. From the opening drumbeat that sounds like it could be pulled from Disorder's "More Than Fights" and the primal yell, there's no looking back. A wall of thunder and the vocals are buried into the mix a bit. Seven out of the eight songs are fast rippers and the sole slower one, "Indictment," has an otherworldly guitar line--or maybe it's keyboards, I can't tell. And the bombastic conclusion doesn't end until you drag yourself off the floor or away from the wall you've been pinned to after this album's aural bombardment. Yep, 'tis pretty damned good. (ironlungrecords.bigcartel.com)

CRAZY SPIRIT-s/t (No Patience, 7")
Crazy Spirit's first vinyl release since their 2012 album (there was a demo in 2014) and third self-titled 7” release overall. You know the deal by now—nasally vocals and a fuzzy, buzzy punk attack, underpinned by clattering, galloping drums. The tempo actually seems a bit sprightlier than usual. Six tracks that run together (three per side) and it’s not so much any distinction between songs as it is the overall effect—and that’s still plenty ear-messing. (www.nopatience.org; released in US on Toxic State)

DÖDLAGE-s/t (Sac red Plague/multi-label, 7”)

Painful emanations fused to an encrusted d-beat attack. "Stench Of Death"! "Man Made Hell"! "Life In A Cage"! Ten expressions of pure unharnessed rage, done with ruthless precision. What more do 'ya want? Stud it up!(1741 SE Franklin St., Portland, OR 97202, www.sacredplague.com)

DRONEZ-Corporate Funded Terror” (Ryvvolte, 7")
Scandi/d-beat musical terror. Four blazing tracks with harsh/howling vocals with a bit ‘o reverb, a wall of guitar noise and basic drumming getting the job done. Not a lot of variation in song structures here but the four tracks create and fast ‘n ugly firestorm. Their guitarist/vocalist Jay Collins also sent an earlier flexi that features more of the same. Inspired title: “Fuck You and All You Don’t Stand For.” Both of them are tucked inside hand-screened sleeves. (dektalmapunks@gmail.com)

EXIT ORDER

EXIT ORDER-s/t (Side Two, 7") 
Exit Order's debut vinyl features far superior production to their demo and it brings their no-nonsense hardcore punk into bold relief, adding a few other elements. A slight effect on the guitar, along with pumping bass and quick-handed drumming accompanying Anna’s pealing vocals. Exit Order includes members with long resumes--No Tolerance, Leather Daddy, Limp Wrist, Green Beret, Brain Killer and others and not sounding specifically like any of those bands. Closing track “Order” has a slightly more anarcho punk feel and that’s filtered through other songs as well. (6 Wadleigh Pl, Boston, MA 02127, side-two.com)

FANTASY ARCADE-s/t (Too Old To Die, 7")
This San Diego band counts people from Life Crisis and Death Crisis in their ranks and, on their self-titled 7" EP, it’s a heavier, doomier sound. Big riffs and laying down a rhythmic thud, interspersed with bursts of speed, The tongue is planted into the cheek a bit and I didn’t even recognize their piss-take thrashed up version “Poison Arrow” as a cover song from 80s lightweights ABC. Or more accurately, they take the lyrics from that song and add their own music. Unfortunately, all this adds up to something not terribly enticing. (fantasyarcade.bandcamp.com)

FUCKING/INVINCIBLE-I Hate Myself and I Want You To Die (Atomic Action, 7")
Blasting/grinding/lurch on F/I's latest Vicious and savage and the howling vocals express anger and contempt. While there's no denying the music's ferocity, only the relatively straightforward, Swedish-inspired thrash of "Like A Child" makes any sort of connection. (www.atomicactionrecords.com)

KILSLUG/DRUNK IN HELL-split (At War With False Noise/Lupus, 7" 

Kilslug have been kicking around in one form or another since the 1980s and their latest disc is a split 7” with UK band Drunk In Hell, with each band contributing one track.Kilslug’s “Sick Sick Sick” (or “666”) is a rockin’ crusher, with Larry Lifeless’s nasal whine accompanied by a formidable heaviness that also has a groove. It doesn’t hurt they have a strong lineup these days, with John Kozik (ex-Out Cold) and John Darga (ex-Wrecking Crew) in the fold. Drunk In Hell’s track, “Hungry For Blood,” is slow and heavy as fuck, although it gets tedious after awhile. (www.atwarwithfalsenoise.com)

LANDLORDS-Fitzgerald's Paris (Feel It, LP)
Before they were the Happy Flowers' Mr. Anus and Mr. Horribly Charred Infant, Charlie Kramer and John Beers were two of the four members of the Virginia hardcore punk band the Landlords. They released one album called "Hey! It's A Teenage House Party!" in 1984 before, I'd guess, Charlie and John ultimately decided to concentrate on the Flowers, although it turns out they recorded Landlords stuff after the first album (a bit of research reveals there was a 7" in 1987). Anyway, 30+ years later, there's a second Landlords album, consisting of sessions from 1986 and 1987, but not the songs from that second 7".The download includes another '85 session and live set from CBGB. Landlords were ostensibly a hardcore band but worked in melodic touches and some metallic shredding (the liner notes claim an affinity for Tank's "Filth Hounds of Hades" album). There are even a few abraso rock excursions for "Stigmata," "Press The Bar" and "The Strange House" that showed them moving into something a bit darker. Maybe not 100% essential but still worth seeing the light of day. (feelitrecords.bigcartel.com)

METAL URBAIN-Panik/Lady Coca Cola (Alternative Tentacles, 7")
I know Record Store Day is pretty much a ripoff--overpriced, unnecessary reissues, ones that clog the record pressing plants and cause huge backups--but here's one that's worthwhile, if a bit pricey. Metal Urbain were one of the first French punk bands and "Panik," recorded in 1977, is one of the all-time great songs from that period. Razor-sharp guitar, synth washes and mechanized drums and harsh vocals. This song also has one hell of a screaming guitar solo. "Lady Coca Cola" is almost twice as long, repetitive and numbing but, once again, there's an ahead-of-its-time inventiveness. Metal Urbain truly didn't sound like anyone else at that time and still sound fresh almost 40 years later. (PO Box 419092, SF, CA 94141, www.alternativetentacles.com)

MOMMY

MOMMY-s/t (Toxic State, 7")
One of the more entertaining bands I’ve seen in recent months, an animated, raspy vocalist accompanied by drums and distorted bass. Kind of like early Rudimentary Peni filtered through the Crazy Spirit/NYC bung gene pool and that comes out brashly on their five song self-titled 7” on Toxic State. The typical top-notch packaging, including a fold-out poster and lyric booklet that intersperses the words (which read more like poetry than typical lyrics) with mental health reports. That’s the overall concept—someone going through a mental health episode and having to be hospitalized. I think that’s what it is, anyway. I’m not sure if it’s based on personal experiences but I think the Peni comparison is apt, given Nick Blinko’s mental health travails. (katorgaworks.bigcartel.com)

MONGOLOID-s/t (Feral Kid, 7")
Being that Mongoloid are from Portland, hearing the Jerry A-inspired vocals shouldn't come as a shock, although I suppose I'm just talking about geographical coincidences. Three short rippers that do have a Poison Idea bent in spots and it's plenty mean-sounding. The flip is given over to the long, laborious "At The Moment Of Death," saxophone popping up at the beginning and conclusion and it's a not-too-enticing jazzy/rock/punk journey. Would have made a great one-sided 7"! (feralkidrecords.com)

MORAL PANIC-Your Decline (Heinous Fuck, 7")

As I’ve been saying a lot lately, fuck off to anyone who thinks punk/hardcore/what-have-you is just a youth movement meant to be played by young people to other young people. Moral Panic prove that point on their “Your Decline” 7”. With members from Sydney and Melbourne, some of these geezers used to be in AVO and the drummer was in Depression years and years ago. Pure malice and venom on their concise, blink-‘n-you miss it hardcore thrash songs that are executed with on-a-dime precision. And for a changeup, there’s a cover of the old LA punk band Skulls song “Victims.” Play loud and get the hell off my lawn. (www.reverbnation.com/moralpanic88)

MUTANT SCUM-Field Recordings (Handstand, tape)
A concept of sorts... underground slime creatures forming out of industrial waste in a creek (so it says) to play boisterous, hard rocking metal and punk. If you're engaging in tongue-in-cheek schtick, it's always a good idea to have the musical chops and songs to go along with it and these Scum do have that. And read between the lines and it comes across like an environmental cautionary tale. From a musical standpoint, it's not primordial, sluggish ooze, even with a heavier, stomping song like "Sludge Castle." To use an awful pun, don't forget the sewers, don't forget the streets and watch out because these scummy beings are right behind you. (handstandrecords.com)

NASA SPACE UNIVERSE-70 AD (Feel It, LP)
I was surprised to see a new NSU record show up in mailbox, since I thought they'd broken up. Well, they did break up but squeezed one more release before their demise, this ten song effort. NASA Space Universe have never fit into any easy category. There's an abundance of speedy hardcore but they add edgier, nervier touches, mainly in the sputtery guitar playing, along with the nightmarish vocals. Some of the songs hit a punchier groove, especially "Building," "Infernal Recurrence" and the title track. They've certainly spent time listening to post-"Damaged" Black Flag and early Die Kreuzen, probably while reading books about both bio-devastation and devastation throughout history, as well. The production on this one is rougher than in their recent history and it ups the abrasiveness level. It isn't clearly stated in the lyrics (nothing is clearly stated--they tend to go for something more oblique) but 70 AD is the year the Romans destroyed Jerusalem, including the Temple. It does ask "have things really changed? Has the world shifted?" I suppose the answer to that would probably be no... same shit over and over again. Sorry to see 'em go. (feelitrecords.bigcartel.com)

NO PAROLE-s/t (Mad At The World, 7")
A meat ‘n potatoes oi band from New Jersey and this 7" could have been on Headache Records back in the day. Your basic boot party with tough-sounding vocals and semi-tuneful arrangements. Pretty basic fodder, some catchy licks here and there, especially on “Grey Skies,” but there’s nothing all that outstanding about it. (www.matwrecords.com)

PARASYTES

PARASYTES-Straight Jacket (Distort Reality)

Parasytes is the latest band for ex-Hellbound/After The Bombs/Hellbound vocalist Janick Langlais. On their “Straight Jacket” 7” there’s a slight difference from her other bands in that the guitar tone is somewhat cleaner, even adding some phasing for “Frantic.” For the mid-tempo “Paranoid Visions,” there’s a Discharge influence but not so much d-beat as that band’s “In Defence of Our Future”era and that’s the best song of the three. The others follow a traditional early 80s UK route with plenty of speedy burn (distortreality.storenvy.com)

QUANGO-Fatality (Danger, 12")
The story with Quango is it's a band with Richard from Hygiene that started in 2012. There was a four song demo, then three of the songs were pressed on a 7" and now there's this remastered 12" that restores the fourth song, "Viva Il Papa." I think that's the story. The version on this 12" is a different take from the demo. Whatever the case, the title track is a total earworm with the pealing guitar line ala Buzzcocks' "Breakdown" in the verses and an early Joy Division riff in the chorus. You can also hear echoes of the Swell Maps. They just sound old--and that's meant as a compliment. Old as in having a sepia-toned sound, something that could have come out back then. Punk and post-punk mixed together, in glorious low fidelity that increases the bash factor. "Living In A Shithole" and "Quickquid" have a slightly more '77 punk feel, while "Viva Il Papa" (about Pope Adrian IV, the only British Pope) spreads out over four minutes at a sturdy pace, with stinging guitar hook (dangerrecords.bandcamp.com)

S.H.I.T.-i (demo)
It's called the "i" demo because all three songs--"Introduction," "Incorporation" and "Information" start with the letter I. That's my guess and, being that I've been doing this writing s.h.i.t. (sorry) for a long time, I'm confident that's the case. I'm also confident this is another fine effort for this Toronto band. They've had a willingness to fuck with the crust/d-beat formula a bit, such as the introduction that's a fist-pumping rocker with wordless vocal effects. Then it's back to faster, head-fucking thump. S.H.I.T. dole out their music in small portions--several 7"s and tapes and still no 12". Maybe someday. (whatwedoissecrete.org)

SICK WARD-Into The Future (demo)
An 8 song demo chock fulla hearty 'n catchy punk with full-throated, gruff vocals that bears something of a resemblance to Criminal Damage. In other words, this is coming from a UK-82 muse although it's a tougher edge to it. "Outside World" introduces a Blitzy guitar signature, while the speedy "RX Population" careens full-tilt. Deserves a vinyl pressing. (3429 15th Ave. S, Seattle, WA 98144, sickward.bandcamp.com)

S/ICKS-Cut Bait/Enemies List (Mind Cure, 7")/Pretty Plastic (Fair Warning, 7")
S/ICKS (or Sicks) are a Pittsburgh band including people from Kim Phuc (an underrated band you should explore), Caustic Christ and others. The two 7”s their guitarist Eric was nice enough to send me—“Cut Bait/Enemies List” on Mind Cure and “Pretty Plastic/Dose” on Fair Warning--came out in mid-2015 but it’s some quality swill. In a similarly nervy vein as Kim Phuc, with stinging and beefy guitar riffs and a solid rhythmic punch to go along with Rob’s cutting vocals, all of it at a steady mid-tempo clip, although “Dose” slows it down a bit. (Mind Cure, mindcurerecords.com; Fair Warning, fairwarningrecords.bandcamp.com)

SPAZZ (1997)

SPAZZ-Sweatin' To The Oldies (Tankcrimes, CD)/Sweatin' 3 (Tankcrimes, CD)
Two CDs, 131 songs, in a shade under two hours. Let's get rolling with a track by track breakdown. OK, maybe not, and I'm not quite sure why Volume 2 wasn't repressed as well. Anyway, these were both originally released on Slap-A-Ham )(Vol. 2 was on 625), run by Spazz's Chris Dodge. Collections of 7"s, splits, compilation tracks and some live recordings, as well. Anyone who's read this space for any length of time know that I'm not a real aficionado of powerviolence, grindcore, what-have-you but Spazz differentiated themselves by their ability to shift tempos effortlessly, going from blastbeats to more traditional thrash to crunchier stomp, sometimes in the same song. And it was done with a strong sense of wit i.e they never seemed to take themselves all that seriously. You can tell these guys grew up absorbing the entire oeuvre of hardcore, from US, UK and other overseas bands. Their various cover versions border are brilliantly-executed, from SOA's "I Hate The Kids" to Youth of Today's "Stabbed In The Back" (my favorite YOT cover ever, part of a trilogy of NYHC covers) to Negative Approach's "Lost Cause," which each musician getting a turn to add his own twist--there's even a funky break in it. All sorts of sound samples and there's even a fucking BANJO on "Spudboy." I know a lot of people hate CDs but these collections justify the continued existence of the format. (www.tankcrimes.com)

SPITE HOUSE-Perfect Vision (No Patience, 7")
Some goth-style punk from this Austrlian band, although the guitar playing has fuzzy touches to go along with the shimmer, particularly on the title track, the best of the four. They definitely take a page from early Siouxsie, with Stina’s vocals having a similar swoop as Ms. Sioux’s. (www.nopatience.org)

STRUTTER-s/t (Beach Impediment, 7")
Strutter are from Austin and have members from such heavy hitters as Glue, Vaaska and Impalers and it’s closer to Glue’s snotty hardcore punk thump, coming from more of an 80s impulse. Four loud ‘n fast rippers and tucked inside a colorful sleeve that would make you think it’s going to be a trippy excursion—well, the sputtering outro has a bit of a damage effect but that’s after you’ve been pummeled by the band’s straightforward aggression. (beachimpedimentrecords.bigcartel.com)

SUNSHINE WARD

SUNSHINE WARD-Order (Feral Ward, 12")

In case you haven't been told (or weren't paying attention), Sunshine Ward include three former members of Brain Killer and they tear it up mightily on their debut 12" (following a demo that was also pressed onto a 7"). Following a well-worn path with a great amount of success, varying between hard-charging, d-beat infused ragers and medium speed tempos. Jordan has an effective, throaty bray to go along with the band's high-powered flay. The musicianship is sharp throughout, from Ryan Taylor's rumbling bass to Kyle Folsom's powerful drumming to Jeff Poot's arsenal of powerchords and singeing leads. Sunshine Ward on Feral Ward. Makes complete sense. (www.feralward.com)

TOTAL ABUSE-Excluded (Deranged, LP)
Total Abuse are ten years into their career of ear-damaging hardcore, having starting off as a more-or-less traditional-sounding unit but then they started expanding their sound into darker and abrasive realms. Total Abuse’s output in recent years has been real hit and miss but their latest, “Excluded,” marks a return to form. Heavy, barbed riffs are fused to explosive drumming, creating a sonic stormcloud and are paired with Rusty Kelley’s anguished vocals. Needless to say, the sentiments expressed are born of pain—there ain’t a whole lot of happiness in the outlook, the title track bearing that out. “Jealousy” states, at the output, “I’m not a nice person/I don’t claim to be/I have hate anger and jealousy/I fantasize about people under my boot/begging for release.” No, it’s not poetry but it’s sure succinct. Songs like “Eighteen” (not an Alice Cooper cover) and “Jealousy” wield an unhinged ferocity, while the six minutes plus of “Watching The Paint Dry” shifts from a sturdy mid-tempo clip into creeping, meandering territory. Sure, they’ve learned a few lessons from Black Flag and Bl'ast but there are worse influences and it still sounds fresh. (www.derangedrecords.com)

TRIAGE

TRIAGE-Power Beat (Larry Tony Produzioni, 7")

On the cover, it says, "fuck hardcore, this is power beat." When I saw them live, their vocalist Lia said they were youth crust. Their set featured the first drum solo I ever saw at the Boiler Room--which, sadly, is missing on this recording. Echo-laden vocals, metallic guitar leads popping up from time to time and there's a slight hint of Sacrilege in their sound. Label it however you want--it's just loud, fast and banging.(faithvoidshop.com)

VARIOUS-Sick Of Things The Way They Are (Atomic Action, 7")
7 band comp, with six of them from Mass. and Rhode Island and one from NJ. It's all high-energy hardcore but not in one style. Wokling, Wound Man, Some Nerve and Razorheads offer bashing takes. Razorheads' song is distorted and nasty-sounding, Symptom follow the Disclose blueprint, World Is Shit have a death metal flavor and Fucking Invincible (as usual) go from stomp mode into blinding speed. No info, except for a sheet giving their Bandcamp pages. Wokling make the strongest impression and their 2014 demo is pretty good. Unfortunately, they've broken up. (www.atomicactionrecords.com)

VARIOUS-The Transcendental Maggot’s Revenge (Tsuguri, 7") 
Some good moments on this 7" comp, although old-timers the Ugly Americans’ mid-tempo “Pony Picture” oozes grunge era rock and not necessarily in a good way. The other veteran band, Flag of Democracy, fare better with their tuneful ‘n hyperkinetic hardcore and they’ve never lost a step. Toe Tag is Blaine from The Accused/Fartz's latest band and they dish out some passable metal-tinged thrash metal. Classhole's track has a bit of a Bl'ast feel and Beige Eagle Boys offer up some butt-shakin’ rock ‘n roll on their song. (9487 Holly Ridge Ct., Hildebran, NC 28637, tsugurirecords.blogspot.com)

VCR-RIP Sportsboy (Murder City Video/Barfbag, LP)
Two of the people in Triage also play in this band, albeit on different instruments and it's quite a bit different. Head-spinning garage punk with whirling organ and playful percussion, to go along with the sarcastic sounding vocals from Sportsboy (aka Scott)--he could be Lumpy's Canadian cousin. Dare I say there's even a bit of soulfulness on the instrumental "Sportsboy 69." And, after the opening track, "Murder City Rules," there are barely any gaps between songs, except when you flip the record over. It's a wild, sometimes silly ride, even a blink-and-you-miss-it cover of the Bad Brains' "How Low Can A Punk Get?" or, more accurately, a snippet of the song. The line on "Shut Up" about pulling down ex-Canadian Prime Minister Stephen Harper's pants, along with a zany sound effect made me laugh out loud. I hope the title track, which ends the album, doesn't mean there won't be another VCR release because this one's a lot of fun. (faithvoidshop.com)

VICTIMS-Sirens (Tankcrimes, LP)
Victims are coming up on 20 years as a band and "Sirens," their fifth album, is the first since 2011. Not much has changed. In the early days, Victims offered up Anti Cimex-styled rage. Over the years, the sound got thicker and heavier, while maintaining the speedy thrust and "Sirens" continues in a similar vein. There are a few songs here that up the velocity and trample over everything in its path--"Seven" and "Promises," the latter exuding "Never give up, never give in." Hope in a dreary world? Whatever the case, it's an anthemic ripper. Pro-forma Swedish crust-core but they've got it down at this point. (www.tankcrimes.com)

VIVISICK-Nuked Identity (Tankcrimes, LP)

The latest from Japan's Vivisick is one hell of a wild ride. After a high energy gypsy music intro, the sound is spirited and aggressive. There are the traditional Burning Spirits trappings but they also work in some hearty UK singalong punk ala Peter and the Test Tube Babies, to go along with Sunao's high-pitched yelp. Some great titles (I'd imagine the English translations are a bit loose)--"Why Must I Grab My Penis?" and "Peter Pan Syndrome Melancholy" come to mind.. And the liner notes provide some inspiring reading. It's a statement about how, even if punk can't change the world, it can make a positive personal impact. They also talk about having toured other countries and having their preconceived prejudices destroyed. Nuking identity--destroying the old one and finding something new. That burns mightily through Vivisick's joyous musical expression. (www.tankcrimes.com)

WHATEVER BRAINS-s/t (Sorry State, LP)/North Carolina Singles Series (Sorry State, 7") 
ISS-s/t (Loki, tape)
Whatever Brains were always an odd band (they just split up) and that’s no exception on this 7” or their new, self-titled album (their fourth). The a-side of the 7”, the engagingly-quirky “An Object,” is on the album, the ambient drone of the b-side “My Autumn’s Done Gone,” isn’t. “PUNK” is splashed across the top of the cover, in a font that looks like what you’d get from an old dot matrix printer and it certainly pushes the parameters of what one would consider punk. It’s a mechanized version of it, relying more on electronics than standard instrumentation and sometimes creating a woozy effect. “An Object” is probably the most “conventional” sounding track with “154”-era Wire pulse. Quite challenging—sometimes more than one might have the patience for. (www.sorrystaterecords.com)

In the meantime, Rich Ivey from the Brains did a project with Eric from Brain F≠ called ISS and I actually prefer this two the other two releases, although I suppose you could say it's a matter of apples and oranges. Rich handles the vocals and guitar and Eric the music--guitar, bass, mechanized drums and samples. It's a heady, snappy, minimalist mesh and more accessible than the Brains, and there's also a sly, wise-assed sense of humor. I'm not sure if it's a one-off and the tape appears to be sold out but you can still snag the tracks on Bandcamp (iss2012.bandcamp.com/releases)

WHITE JAZZ-Modern Living (Atomic Action, 7" EP)

Full-on aggro but White Jazz have a few more tricks up their sleeve(s). There are some damaged-sounding twists and turns and some floor-shaking moments, as well. The latter is true for "Peace/No Peace." "Blank Generation" isn't (I don't think) a Richard Hell cover, even though he gets thanked on the record. It's one hell of a rager, though. Six songs that grab you around the throat. (www.atomicactionrecords.com)

BOOK REVIEW:      

ADULT CRASH 2, compiled by Dave Brown (Vicious Circle/Six Feet Under)

The second volume of Dave Brown’s “Adult Crash” photobook has just been published, some 7 years after the first one. And, as with that volume, you get a 7” featuring four cover versions from Violent Reaction (Agnostic Front’s “Victim In Pain”), Barge (Youth of Today’s “Stabbed In The Back), Night Birds (Effigies’ “Haunted Town” with a surfy twist) and Government Warning (Circle Jerks' “Deny Everything”).

As for the book itself, it’s similar to the first one—a collection of photos laid out scrapbook style over a backdrop of flyers, interspersed with reminiscences of various “scene fixtures” musing about how they’re trying to carry on the punk inspiration and ethics in their lives as the years pass and adult responsibilities come into play. Some of the contributors are Kevin Seconds, Chris Boarts Larson, Eerie Von, Thomas Barnett (Strike Anywhere), Chuck Miller (“X-Claim” zine and Temperance Records) and others.

This time around, the photos and locations of the shows are dated and Dave brings in contributions from other photographers (including yours truly). Also, he uses larger photos, just a couple on each page, so they create a more striking visual image. And as you view the interactions between the performers and the audience members, you quickly realize that there’s a certain timelessness to hardcore. You could be cynical and say it’s just the same old shit over and over or take the opposite tack and think that it’s awesome that people continue to discover what’s special about it and it becomes an unforgettable part of their lives. I’m of both minds, depending on the day, but don’t deny it’s something that still means a lot to me. That won’t apply to everyone in those photos but it certainly does to the people who contributed to this book. The package also includes a digital download of the first book and the tracks form the 7” that accompanied that one. (vcrecs.bigcartel.com)

ZINE REVIEW:

NEVER WAS TURNED HAS BEEN #3, #4

I was recently leaving a show in Salem that featured an all-too-brief 8 song Jerry's Kids reunion set (yes, that was a surprise last minute thing and quite a birthday present for yours truly and I’m sorry I’m gloating about it) and a gentleman by the name of Paolo gave me the two latest issues of his “Never Was Turned Has Been” zine and a homemade cassette compilation, “Section 12.” The two issues are half-size, cut and paste efforts. Issue #3 includes a diary of Paolo’s time spent in a psych hospital, as well as short interviews with Waste Management, Protester and Take Control, along with record, demo, zine and show reviews. #4 has an interview with Chris Wood aka Sid Sludge from Mental Abuse and more reviews.

I do have a bit of a bone to pick about his essay about 80s hardcore and him saying “most old punks are stupid.” And he also goes off on the FU’s “My America,” calling the members “plain ignorant.” Here’s the whole thing with the FU’S and “My America” once and for all. I’d imagine many of you figured it out by now but it was a total wind-up, some button-pushing. They weren’t jocks or rednecks or frat-boys. John Sox and Steve Grimes are both well-educated and quite liberal/left-wing in their ideology and had a wicked sense of humor. This will probably make Tim Yo’s head explode, wherever he is, but “My America” is the second best hardcore album to ever come out of Boston (Jerry's Kids's “Is This My World” will always be #1 in my book). The breakdown in “What You Pay For”? It still makes me want to wreck everything in sight. And they even say you’re fools to look to any punk band as some sort of savior.

Sorry I got sidetracked. Anyway, the cassette compilation is a throwback mixtape of ‘80s US bands, both well-known and lesser-known, with the more obscure Sluggo, Youth Korps and Killing Children sharing space with the likes of Articles of Faith, Freeze, Social Unrest and Die Kreuzen. If you’re interested, contact Paolo at paolojbt@gmail.com.