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46 Short "Truth Denied" TKO Records | |
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This is better than most hardcore punk that’s out there due to it being both urgent and earnest. Lyrics are socially aware but couched in personal experience. There’s a real 80’s feel to the music that doesn’t seem like silly posturing. These guys know their niche and they fill it well. - Ben
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A.D.H.D. “Till Your Ears Bleed” Ares Records | |
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With a band name and album title like this, I really expected something different when I put this disc in the player. Instead of spastic, fastpitch hardcore, I got a pleasant blast of punk rock-n-roll from Orange Co. with influences stemming from The Rolling Stones and The Stooges. I’m not dissapointed. Good stuff. -Lisa
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Akimbo “City of the Stars” Live To Crush | |
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Heavy, angular metallic hardcore set with about a billion arty complex structures going on. Screamo lyrics ranging from “and so they spawn/like maggots from the anus of a god” to a song where the singer bends his frustrated brain to believe he can defeat the morons of the world because he can lift his TV on his own, even though he never works out. “Aiming For the Heel” claims “I’ve never considered myself a poet/this has never been about blowing your mind/never.” My mind isn’t exactly blown but my ears may be, so congratulations, I guess? - Rocko
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Alcoholic White Trash “Punk Rock Jihad” Crusty Records | |
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This is a really fast sort of scumfuc punk rock by a band that obviously loves 80’s speed metal as well. It’s a relentless attack of juvenile shock humor paired with a Slayer-fueled frenzy. With songs like “Blunt Anal Trauma,” “Suck My Dick Bitch,” and “I Shit My Cunt,” it seems like they are trying really hard to never get laid. But I have to say “Bi-Curious George” is one of the funniest song titles I have ever heard. - Ben
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The Alligators “Hide Your Children...Surrender Your Women” allagartos@yahoo.com | |
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Hard-edged surfy trash punk from Cleveland with a couple Link Wray covers, some instrumental tracks, and a tribute to Cleveland native Screaming Jay Hawkins. There is a touch of horror influence, and the recording is pretty lo-fi, even though it was recorded in a studio. The vocals don’t always sound the greatest, but music is solid, at times reminding me of the Coffin Bangers. Not stellar, but it won’t give you warts either. - Ben
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All American Werewolves “Hate Rock U.S.A.” Eugene Records, PO Box 1002 Lexington, KY 40588 | |
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This is pretty decent straightforward rock’n’roll: 2 chords by 3 guys on a 4-track. The title might be a little misleading, though, because this doesn’t really sound hateful. Instead you get rough-edged but catchy tunes that would go well with cheap beer and tattooed women. And if you don’t like those two things, you are reading the wrong magazine. – Ben
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The Alley Dukes “Northern Rednecks” Flying Saucer Records | |
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Canadian rockabilly. Good, clean guitar and a thumpin’ upright. They cover two artists I like: Hasil Adkins’ “No More Hot Dogs” and David Allan Coe’s “Fuckin’ in the Butt.” Some of the original songs bore me a bit, and I skip through a few tracks. These fellas are proficient musicians, but something falls short for me. I’ll give this disc another listen later and maybe I won’t be so foggy. –Lisa
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Almighty Lumberjacks of Death “Always Out of Control, But Never Out of Beer!” Disconnected Records | |
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This is the entire discography from this Detroit band, spanning from the late 80’s to the early 90’s, and includes some previously unreleased stuff as well. There is something undeniably catchy about this band’s mid-tempo, but not boring approach. They seem rather proud about jumping on the Desert Storm bandwagon, but politics aside, this disc is pretty enjoyable the more I listen to it. The press sheet describes them as Oi! with some aspects of Leatherface, which is pretty apt. - Ben
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Ambivalent “Raw As Fuck” Broken Bonez Records | |
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Decent hardcore punk stuff that’s pretty digestible overall: the songs won’t stick to the roof of your mouth or block your colon. I see potential here, as they have a little more character than a lot of many other bands kicking around this style. Still, they aren’t deviating too far from the pack. I liked track #3 “Lost My Head” the best. The recording quality on this disc isn’t very good, though. The guitar sound is awful, but the energy comes through. I guess I’m somewhat ambivalent. – Ben
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Amps II Eleven Self-Titled Smog Veil Records | |
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This band features members of notable Cleveland bands such as 9 Shocks Terror, Stepsister, Face Value and Southern Trespass. The muscles being flexed here are bulging with Southern rock-n-roll strength and tattooed with a touch of 70’s proto-punk. The vocals aren’t the best, but the music is pretty riff heavy and powerful. - Ben
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Andre Williams “Aphrodisiac” Pravda Music | |
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Williams has been in the music industry for over 50 years and is called by some to be “the original rapper” and the “Black Godfather.” This album combines soul, jazz, R&B and lounge to create a soothing musical escape from your hard day. Although the lyrics deal with personal demons like alcoholism (“I’m Not Worthy”) and drugs (“I Don’t Need Mary-Juana”), it’s still a nice listen to kick up your feet to and tip back a nice glass of sweet tea or a frothy beer. –Lisa
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Anti-Hero “Unpretty” Band Site | |
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Look, I have to admit it: I rolled my eyes when I got this CD to review. A band with two beautiful girls, putting out a CD called “Unpretty.” I took a moment and prayed, “Dear God, please don’t let this be about their zits, or bad highlights, or petty larceny on the cheerleading squad. Love, Carol High Hair.” Happily, this is a good solid disc. I’m a sucker for songs with good hooks, and I wasn’t let down. “Unpretty”, “More or Less” — They get stuck in my head, sometimes in a good way. This is their debut disc, and it shows a lot of promise. They’re good musicians, the songs are well-arranged, and the production is very straightforward. What I’m really looking forward to Anti-Hero’s second CD. The lyrics on “Unpretty” are a little basic, and every song has pretty much the same theme. Somehow someone did someone wrong, and the wronged party is stronger for it. Good message, but hopefully as they grow, they’ll branch out and cover different topics, maybe take more chances. Rose, the singer, thanks Alanis, Madonna, and Veruca Salt. I hope next time she channels them less and shows off her own voice more. - Carol High Hair
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Arcs Self-titled Band Site | |
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This band from Toronto, Canada, is pretty skilled musically but unfortunately for me don’t play the kind of music I enjoy listening to. Every song is way too long (shortest song comes in at 3:50) and very soft and touchy-feely. This could possibly be on a soundtrack to an after school special about a girl struggling to come to terms with her parents’ divorce. – Lisa
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Arsenic On The Rocks Self-titled Band Site | |
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To me this seems to be a dark, goth-punk, but not like the Misfits. They have to sound like somebody I should be able to reference, but I just can’t think of whom. There is some metal stamped in the guitar playing, which is nice to hear because it’s the good old kind of metal guitar. Not the lame wanking shit or nü metal. This band hails from Lexington, KY and has former band members from The Murders, Heartthrob Jesus, Leave It At The Door, and Stabbed To Death. The vocals leave me unsatisfied, but not terribly. Eight songs that I don’t love, but I’m not ready to gouge my eardrums out either. – Lisa
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The Astroglides “Selling Out” Band Site | |
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Here we have an Israeli surf band that is more than just a gang of generic tremolo-picking Dick Dale wannabes. This band is not afraid to monkey with the format, and this CD shows the experimentation really paying off. Venturing into both exotic atmospheres and double bass pounding surfcore, these songs often strike genius. I’ve heard their previous output, and while it was good, I think they’ve now worked out the kinks and realized their potential. One of the best things about doing this ‘zine is getting awesome CDs from obscure bands across the globe, and this one sure fits the bill. It should also be noted that the layout of the CD is spectacular. –Ben
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Bad Lieutenants “Every Time I Come Around…” Band Site | |
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These guys aren’t bad: kind of a punk-n-roll with subtle 70’s underpinnings. They can be pretty good, but sometimes I get a little seasick on the choppy waters of this CD. While they capably sail through their many influences, they’re not quite ready to compete for the America’s Cup yet. Some songs grab me while others let my attention slip through their fingers. - Ben
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Bambix “Club Matuchek” Go Kart Records | |
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Not generally the type of music I listen to, Bambix does add something worthwhile to the genre of pop-punk. Rather than being bubblegum, this Dutch band injects mature melodies, an often metal guitar crunch, full production, and an earnestness reminscent of Leatherface. Thankfully, the capable female vocals aren’t cutesy, and while it still isn’t my thing at all, it does have its merits. - Ben
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The Band From Planet X “Rock N Roll Grand Guignol” Band Site | |
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This Canadian band brings surf, garage, and punk together in a very eccentric and highly original way. The arrangements are clever and unusual without being smug or dull, and there is a strain of intelligent humor amidst the B-movie campiness. This is extremely good. Just plain cool and highly recommended. –Ben
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Banane Metalik “Sex, Blood, & Gore’n’Roll” Band Site | |
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With a band playin’ “gore-n-roll,” what better way to start the album off but with a chainsaw murder? Banane Metalik sing almost entirely in French, and play a very metal psychobilly that thankfully doesn’t quite sound like every other bland metal psychobilly band out there. It may be due to the fact that they have an ultra-heavy and mostly frantic take on the genre. Their press sheet notes that they started in 1989, suggesting that they may have been a stylistic precursor to newer acts such as Os Catalepticos and Asmodeus. Standout songs such as “Los Enfants des Ténèmbres” and “Don’t Dictate My Way of Life” are crushers that hit hard and below the belt. The CD booklet is thick and filled with pics of the band in their gory B-movie best. Obviously they aren’t taking themselves too seriously, and the disc comes off as dark metal filtered through a grindhouse film library. Imagine your thrash mixed with slasher flicks. I bet their shows are a bloody good time. - Ben
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The Barbarellatones “Invasion of the Surf Zombies!” & “Cold Sore” Band Site | |
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Here is competent and not clichéd gothabilly. Interesting and varied songs that come off sort of musical theatre-ish, but in a good way. A goofy sense of humor and quirky songwriting makes them more creative than your average goth band. Reminds me of King Missile (vocals), David Bowie, Devo, and a less drugged up Velvet Underground. It’s surfy and mellow, fronted by a crossdresser who used to be in Sex With Lurch. The “Cold Sore” album isn’t as good as “Invasion…” -Lisa
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Baseball Furies “All-American Psycho” Band Site | |
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This disc erupts in fits and bursts of savage fury, each song burrowing into your cranium with the subtlety of a jackhammer, and believe me, this is truly savage. Originally released on a 7" in 1998 and a 10" in 1999, these tracks have finally been compiled onto disc for mass consumption for those who can handle it. These guys issue their grating garage punk with frothing mouths and bleeding knuckles. It sounds like a mean, cathartic mess that definitely won’t leave you feeling shower fresh all day long. Your favorite punk band will seem like Raffi after taking this sonic reaming. - Ben
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Baxter House “Please Baxter, Don’t Hurt ‘Em” EP Band Site | |
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This three-piece band is a female-fronted, aggressive, Hole-y trinity. The music has that “slow down and sing softly then erupt and scream loudly” dynamic that seems little too choreographed for my tastes. Everything about them is capable and combustible but still fails to ignite the passions. - Ben
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Scott H. Biram “Graveyard Shift” Bloodshot Records | |
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I may not know pig shit from swine-ola but this I do know this is a great album. Biram incorporates a wide array of influences from southern blues to gospel, country, bluegrass and even metal. The songs this time out have a hard-lived resilience and a dark sincerity to them that sticks to your ribs. It’s evocative of sprawling cornfields, the scent of diesel fumes and tarred roads, Lava soap and sweat, and a cold beer after a long day. Biram not only stands out as a one-man band, but also towers over the majority of full bands playing similar music. - Ben
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Bitch Boys “Ride the First Wave” Golly Gee Records | |
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Golly Gee Records releases have been getting better and better, and the Bitch Boys from Slovenia are no exception to that upward trajectory. You couldn’t possibly fit another sublime cut of instrumental surf on this bulging 30 track CD, and oddly enough, none of it comes off as filler. While they do adhere to unspoken genre rule of performing 99% covers, their choice of material is truly inspired. You’re not going to hear the zillionth lackluster version of “Pipeline,” “Rumble,” or “Wipeout.” Instead, they pull out more obscure songs from the 60’s, toss in some excellent traditional ethnic tunes, and even add some stellar classical material. Furthermore, the renditions are not merely treated with a cosmetic tinkering at a superficial level, but rather get completely re-imagined, decontextualized, and fully revived, without going as far as deconstructing the originals or resorting to a low-minded “modernization” of the source material. Add to that a dynamic and precise musicianship that avoids both sterility and pretentiousness, and you are left with something remarkable. Quite a feat, and I am quite a fan. - Ben
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Black Jetts “Right On Sound” Dead Beat Records | |
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Try imagining a more garage version of The Humpers, and you’ll be close to the Black Jetts - and that’s a good thing. There’s that early 70’s proto-punk, rock’n’roll vibe with all the sleaze and wah-wah guitars intact. The addition of a Hammond organ often signals lameness, but here it is actually used to good effect, giving a 60’s aura that takes over on a few songs. These guys are apparently from Las Vegas, which is fitting since their songs carry the smell of stained hotel sheets mixed with cigarettes and desperation. Overall an enjoyable disc that’ll leave you feeling a little dirty, but satisfied. - Ben
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Black Sunday “Tronic Blanc” Dirtnap Records | |
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Here’s yet another band spawned by Memphis’ most prolific lady, Alicja Trout, and though I’ve not heard every band she’s done, I’ve yet to hear one that I dislike. Best known for co-fronting the garage-punk/black wave innovators, Lost Sounds, she is also the heart of rock’n’roll at the center of River City Tanlines, the nihilistic maven doling out punk rock aggression in the Fitts, and a host of other bands. Here she wrote all the songs and also played the vast majority of them herself. She also recorded them herself, in her own studio. Some of the songs would have actually fit perfectly on a Lost Sounds album, utilizing that same apocalyptic keyboard sound. However, this disc also has some lighter ambience and many well-crafted pop hooks throughout its 13 songs. It neither gets too oppressive and dark, nor too fluffy and sweet. For the most part, the keyboard is way more dominant than guitars, with “Mosquitoes” being a very notable exception. While several tracks on this shine with undeniable brilliance, the less nuclear numbers may take a little getting used to for the more ardent Lost Sounds junkies out there. Some of it doesn’t quite get me there, but there are more diamonds than coal. - Ben
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Blasé Debris “Creep Cool” Altercation Records | |
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Described as goth-metal and horror-punk, they remind me in parts of the Misfits, the Adicts, and the Koffin Kats... with some Poison-esque guitar solos thrown in. While the music is listenable, the vocals tend to go a bit over-the-top and all over the place, getting pretty cheesy in a drunken Elvis impersonator sort of way. -Lisa
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Blue Demon “Shot To Ruin” Mimshima Records | |
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These guys are psychobilly in the sense that they skillfully play rockabilly and surf-style riffs with an overcharged guitar tone that has an almost metal crunch to it. Fortunately though, they don’t have the usual drudging, dismal psychobilly vocals, and the playing is accomplished and varied enough to avoid getting lost in the pack of their unimaginative peers. The album is dark, yet fast and energetic. Definitely worth looking into if you like any sort of ‘billy music. - Ben
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Blue Meanies “Full Throttle” Thick Records | |
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One of the early players in the Ska-infused Punk Rock explosion of the late 90’s (this was originally released in 1997), the Blue Meanies somehow never had as much success as their more commercially viable peers. Most of the songs break the mold, which is enjoyable. For example, track 13 “F.O.R.D.” is bizarre, and has what sounds like a banjo and an upright bass. I’m not really into this type of music, but I can see where merit is due. These guys are talented musicians who were tired of the same old boring routine and were mixing it up a bit. The last track is 23:08 long and sounds like what could be whale sounds. They also do a cover the tune “Stone Cold Crazy” by Queen. – Lisa
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Blitzkid “Let Flowers Die” Horror High | |
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In the genre of horror-punk everybody tends to mimic the Misfits, but luckily the singer for Blitzkid can actually sing rather than come off as some sort of caricature. They remind me a bit of early Tiger Army. The songs are melodic and catchy while several downright are right heavy rockers. In a scene filled with mediocrity, these guys manage to stand out from the pack. - Ben
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Bobby Bare Jr’s Young Criminals’ Starvation League “From The End Of Your Leash” Bloodshot Records | |
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Fairly interesting and unique compositions which conjur the following images: a 6 year old girl playing Dominoes, a coffee shop acoustic set, crocheted doilies, and hippies. I think it could be interesting, but I just don’t want to listen to it anymore. - Lisa
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The Boils “From the Bleachers” TKO Records | |
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If you like street punk and hardcore with plenty of shouted anthem choruses, then there is plenty to enjoy on this new release by Philly’s longstanding punk outfit, the Boils. There are a few reggae-type numbers on here too, and while they don’t really push the envelope at all, they do offer some good tunes done right. - Ben
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The Bombshells “Audio Wasteland” Band Site | |
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Catchy pop punk melodies that will have the Warped Tour fans boppin’ along in rhythm. I can see throngs of high school girls wearing their T-shirts that they bought at Hot Topic. Not a bad band by any stretch. They sound like they would wear eyeliner. I read some reviews that others have wrote and mention things like ’77 punk style, UK Punk, and someone even used the term punkabilly. Truthfully, I don’t think they fall into any of those genres at all. Not a bad listen, but not a regular in my player. – Lisa
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Bottlejob “You And Whose Army” Rebellion Records | |
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In the vein of classic British Oi, a la Close Shave, these guys come off from the get go as “fuck you, I got a shaved head and you don’t” skinheads in an English way that has not been heard from in close to twenty odd years. Good, solid stuff. The lyrics are young and heartfelt without insulting either intelligence or sensibilty. If this sounds good to you so far, then this’ll have your elbows swingin’ in no time. Fuck the weak shit, the Brits might finally be back once again. - Joe Pacak
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Broken Heroes “I Told U Once” Street Anthem Records | |
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The cover of this CD shows somebody who looks like they took a little bit of an ass whoopin’. The music inside has the same effect! Hard yet melodic, sometimes featuring two singers, a nice touch for some variety. Each song is packed with sometimes brilliant lyrics and includes some of the best lines ever “I threw up in my hand again” and “hey soy breath” in reference to a hippie. The song lyrics are probably the best thing gong on here, I mean the music smokes but the lyrics are way better and original. Of course there are the SKINS and fighting/drinking songs, nothing wrong with that. But some of the other stuff is just excellent and real. I’ll bet these guys would be great to see live in their hometown. - Jeff Lamm
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Brutally Frank “Thirteen” Zero Youth Records | |
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This three-piece band has managed to push all the right buttons, fiddle with all the right knobs, and tune in something special. They peg themselves as ‘Midwest Punkabilly,’ hailing from Joplin, MO, and that sums them up pretty well. There’s an over-driven rockabilly guitar tone, upright bass, and more than enough punk edge to make you smile ear to ear. The guitar licks rage out of control, the energy broods then surges, and the production is as dirty as their minds. The songs register in the brain stem and will make you shake more than Parkinson’s. No frills. No bullshit. No kidding. - Ben
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Buck Jones "Explosive Rockabilly 2" Band Site | |
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Buck Jones, from Finland, was looking for a band and apparently found one in Himself. Straight up Rockabilly with a couple country numbers thrown in. The bulk of the material (14 tracks) are originals with “Blitzkrieg Bop” (Ramones), the most interesting cover. Excellent guitar playing, a little heavy on the 80’s hair band distortion on a few tracks. Just listen to the guitar intro to “The Ballad of Josey Grade and you be wondering who slipped that Scorpions disk in you player. The Rockabilly cuts on this disk are overall okay, but the country tracks don’t come off so well with the attempted Finnish hillbilly accent. – Pat May
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Built 4 Speed “Minor (part one)” Band Site | |
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This 7-song EP from a newer band on the German scene intrigued me with its focus on moodier, atmospheric mid-tempo songs when initially from the cover I was expecting amped-up psychobilly. Reverbed twangy leads and cool slide work on “Rockin” and “The Lady” make for late night smoky rain-soaked street scenes in the movie of your mind. Fine noir-ish jazzy tones to some of the spooky playing is a classy touch alongside the fuzzed out guitar. – Rocko
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By All Means Necessary Self-Titled CD Band Site | |
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By All Means Necessary self-titled first disc has a lot of things that are good on their own, but when mixed together, it just doesn’t work. The lyrics are good. The musicians are talented. The topics are diverse. The singer has a good voice. But, the final product is disjointed. Two slow motion ballads are way too long, and way overproduced (“Don’t Give up on Me”, and “Walking Away” sound really self-conscious), but then there’s a jiffy little ska-inspired number “Beyond my Means”, and “Buffer Zone” is a rocking political commentary. Here’s what I think happened: I think these guys got together, realized they liked playing music together, it sounded good, and they hurried up and got this CD together so they could start getting gigs. (This is their first CD. By All Means Necessary put one out after this, and they’re working on a third right now) Nothing wrong with that. In fact, they’re probably really good live. They just tried too hard this time. Hopefully on their future discs, they gear down the production a little, and let their music speak for itself. -Carol High Hair
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The Can Kickers “We’re Dying But We Ain’t Dead” Band Site | |
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I saw these guys in Phoenix a couple months ago and really dug them. This is a three-piece playing anything from banjo, kazoo, juice harp, fiddle, washboard, and a bucket. The style is an upbeat sort of Appalachian folk music with Celtic trimmings. Track 12, “Greasy Coat,” even takes on hip-hop to good effect using that same instrumentation. The musicianship is really good with a stripped down production that may be too heavy on drums. Vocals are not particularly strong, but they don’t ruin anything either. The album has a real direct, intimate feel to it, rather than a pretentiously polished-up, waxy sheen. You get the feel for what the band is really like in an honest, straightforward, and charming way. A lot of the songs are arrangements of old tunes going as far back as the 1800’s. However, most of them are originals innovating in that same tradition. These guys told me that they once played someone’s backyard in a bomb shelter. I can’t think of a better place to see them. This is a cut above most current folk and bluegrass. –Ben
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Chairman Plow’s Little Red Book Self-Titled CD Crusty Records | |
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For the first half of this CD it sounds like a drunken punk rocker staggered into open mic night at a coffee house and unleashed a torrent of funny songs as they popped into his head. He rags on everything from Emo to Ted McGinley (whom I had to look up on the internet…he’s Jefferson from “Married With Children”). The rest of this CD has more instrumentation while retaining comical lyrics and delivery. It sounds like he had a lot of fun making this. Some of it’s pretty silly, but overall an enjoyable, quirky listen. - Ben
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Chris Casello “Done Moved On” Band Site | |
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Done moved on from his days as guitar slinger for the Starlight Drifters, Casello has left Michigan for Nashville and this, his first solo album, showcases his ever-expanding musical appetites and impeccable instrumentation. The songs here bounce seamlessly between rockabilly, old-time country, and most notably western swing. Some mandolin and piano make it onto a few cuts, but what’s really impressive is how skilled he’s become with all manner of steel guitar. Plus, the recordings are mostly live in the various studios, which staves off any semblance of artificiality, keeping the proceedings feeling natural and lifelike. Casello lives and breathes this music, and it shows. The guitar tones are clean and flow with a lyrical sort of jazz proficiency. Some material by Bob Wills & His Texas Playboys, Merle Travis, and others is resurrected in addition to the many excellent originals, including some stellar instrumentals. I’m sure he’ll sell out of these discs just by wowing people at his gigs, but it’s definitely worth tracking down a copy if you don’t live near Tennessee. – Ben
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Civet “Massacre” Disaster Records | |
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Female street punk with a touch of Rancid influence. Vocals sound VERY much like Broadie from the Distillers. It’s okay, but not something I’ll probably put back in my player. If I wanted to hear the Distillers (which I don’t), I’d just put them in. –Lisa
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Complete Control / Krum Bums “Death Can Wait…” split CD TKO Records | |
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This EP has three songs by each band, with one of the three being a cover of the other band. Both play an 80’s style hardcore punk, but with some guitar solos. Complete Control’s vocals are more sung, while the Krum Bums singer has a very raspy/abrasive voice. It’s all around pretty solid. I think I like the Krum Bums fare a little better because of their ferocity. - Ben
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Craig Kleeman “Worst Kisser Ever” Band Site | |
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The press sheet says he is influenced by mid 90’s radio rock and modern indie-folk. Look for one of these songs to be played during a “Scrubs” montage. This is the kind of music I really don’t connect with at all. To me it’s like spreading wide and receiving a splintered wooden dildo coated in pig semen. I’d sooner let an epileptic monkey with gardening shears trim my pubes than listen to this CD again, but hey, he’s probably good at what he does. - Ben
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The Creepniks “Graveyard Shindig” Band Site | |
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Horror/Surf/Rock complete with keyboard and eerie vocals complete this 9-track disc from this slab of Texan goodness. There is a spaghetti western influence, which is evident on tracks like “Pale Rider” and “El Gringo Loco.” The instrumentals are the best, as they really capture a Southwestern desert feel with a dash of spookiness. All tracks are mid to slow tempo, preferring to rely heavily on mood over flash. The vocals remind me of the Cramps and Cult of the Psychic Fetus, but they go too far into goofy territory, sounding like a desperate stab at creepiness that instead hits the funny bone. – Ben
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The Crimson Ghosts “Some Kinda Hits” Necro-Tone Records | |
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As the name suggests this IS a Misfits cover band... but with a surf instrumental take on all the tunes. In my book this is the only way to cover the Misfits, and they do a bang-up job of it. I have to admit, I giggled a lot through the first listen of this because it’s so cool and fun to hear all these songs done in surf style. Just to mention a few of the gems, you’ll get “Skulls,” “American Nightmare,” “I Turned into a Martian,” and “Hollywood Babylon.” There are a total of 17 tracks for you to enjoy in the most depraved way you see fit. – Lisa
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Daikaiju Self-Titled Reptile Records | |
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This is a surf rock band that takes their name from the Japanese giant monster films. Indeed there is a sci-fi, futuristic component to their sound, which is very welcome in a genre that often can seem too tied to its beach party influences to fully explore its possibilities. I love instrumentals, especially ones that are inventive and evocative, so there is a lot for me to enjoy here. The songs are nonconforming yet coherent, intense yet atmospheric. Top quality goods here. -Ben
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Danny B. Harvey “Rockabilly Jazz” Raucous Records | |
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Danny B. Harvey has an extremely clean guitar tone that carries his exceptional finger picking and fret work on this instrumental disc. He has also played alongside Brian Setzer, Lemmy, Levi Dexter, and many others… a real rockabilly renaissance man that doesn’t seem to get enough credit inside or outside of the scene. This disc is a truly pleasurable outing that infuses jazz with country, bluegrass and rockabilly. The laid back jazz numbers are so elegant. A must have for guitar aficionados. – Lisa
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Darkbuster “A Weakness For Spirits” Band Site | |
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I am not a huge fan of albums kicking off with songs called “We are {insert band name here}.” The next song has a sort of DKM street punk sound and pro-military message to it, and isn’t bad. Following that you get a slower track with a slight country feel using Social Distortion type guitar hooks. Wasn’t really feeling it. Then the album goes full-blown ska and reminded me of the Slackers a bit. Not bad. Damn, then the very next song is a hardcore number. Their main thrust seems to be to melodic street punk, though, which has led to them being referred to as the “East Coast NOFX.” For my money it seems like they’re best at the ska. Nothing else really stood out for me. It’s the usual big production guitar sound on mostly mid-tempo songs, and it’s not usually catchy enough to get lodged permanently in my head. They have a New Bomb Turks sticker on their guitar, which made me want to put that on instead. I feel bad saying that because they aren’t terrible, but I’m just not excited about it. – Ben
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DC Snipers “Missile Sunset” Dead Beat Records | |
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I know a lot of people are jaded about the current wave of punk bands employing cheap keyboard sounds, but here’s another one actually worth your time. They don’t seem to be blatantly trespassing in their forerunner’s backyards, but rather bought a few choice acres of their own way out in left field. They aren’t trying to revive the new-wave sound or out-stupid the Spits. Instead of being gleefully retarded with their instruments, they seem to have smartened up and brought them to an art school flophouse for some enlightened weirdness. They strike a nice balance between dark and unconventional while also being fun and catchy. I can see myself spending some quality time with this CD and building a strong relationship. – Ben
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The Dead Pets “The Revenge of the Village Idiots” Band Site | |
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This British band plays punk rock with sax and trumpet. It’s not really what you’d expect as ska-punk, though, since they don’t really use that syncopated ska rhythm, and the brass is usually buried under loud, fast, and distorted guitars. The singer has a good street punk sort of voice that conveys a gravelly intensity, yet doesn’t sound forced and unnatural as he actually hits notes. It ends with a good version of “We’re Coming Back” by Cocksparrer. All in all, a fine album. - Ben
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Dean Dirg “26 Kicks to Make the Whole World Pay” Dead Beat Records | |
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Great Jesus, these guys are nuts! Raging rock to the nth degree! This band is a swift kick to the ass and fist to the eye. Most songs fall under the one minute mark, which explains how this 26-track CD comes to only 26:39 minutes of playtime. But there is a whole lot of goodness packed into that small time frame. This shit is so raw, if it were chicken I’d have salmonella by now. I’d be puking up my guts and shittin’ my pants for this band. And if THAT’S not a ringing endorsement, I don’t know what is. Not sure where these guys are from, their band website is all in a foreign language that I didn’t recognize. This is what punk rock should be. Period. –Lisa
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Demon City Wreckers “Inner Demons” Hairball 8 | |
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Demon City Wreckers come out swingin from Tucson with 10 tracks of heavy psycho that makes no apologies being more in-yer-face punk than ‘billy. Lots of straight power-chording leads the charge, and truthfully the Wreckers don’t need a lot of flashy licks to make an impact. A great mix of heavy styles and tons of ‘whoa-OH!’ choruses will get you stompin’ to the upright thud. “Undead Rumble” is just a few cuts in, and by then you already know the Demon City Wreckers are the ones dishin’ out the ass-whoopins in this fight! The title cut “Inner Demons” has a nasty swagger I really, really dig and singer Jason Blood shines here with pure punk delivery and a touch of Danzig howling bravado. These guys stick with the themes inherent in the genre but keep it raw and never let subject or song get mired in gimmick. One of the best heavy psychobilly records I’ve heard in a long time. Absolutely a must have for psychos. – Rocko
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Demon’s Claws Self-titled CD Dead canary Records | |
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Backwoods psychedelic garage rock sludged up with sawdust and shrooms makes for some good listening. And when I said psychedelic, don’t think you’ll get digressive hippie noodling that picks the meat from song carcasses. Instead they stay alive and vital with an oddly surreal aura and stripped-down appeal. The vocals are fuzzed out while the music stomps down dark trails carrying you on its back. This is one of those albums you listen to and think “where the hell is this coming from, what is this?” It’s initially grating yet strangely compelling, and it takes you so far away from the mainstream that turning on the radio after listening to this is like waking up from a cool dream into a mundane reality, then trying to fall back asleep to dream it some more. Unlike your chances of having that same dream, though, you can get into the world of this CD over and over again... and it is little better each time. - Ben
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The Demon Seeds “Have a Date with Death” Band Site | |
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This is upbeat fuzzed-out garage rock with a horror theme, organs, and some surfy undertones. Kind of reminds me of bands like the Brimstones, the Butchers, the Fuzztones, and the Hexxers. The vocals aren’t quite there, but it’s still enjoyable: perfect for getting drunk at your next Halloween party and urinating on the neighbor’s dog. - Ben
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Dennis Most and the Instigators “Vampire City” Trash2001 Records | |
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(Note to my editors: “Sex Is An Art Form”? “Excuse My Spunk”?? “Heavy Metal Thunder Child”???? This has left me confused, questioning my beliefs, and I think I now have an irritating rash. We need to drink 30 beers while listening to this together…) Apparently Dennis Most has been releasing independent music since the late 60’s and even had an early track featured on a Killed By Death compilation. That song – “Excuse My Spunk” has been re-recorded and included on this album. I don’t know…these tracks are sort of metal, sort of garagey but with modern studio production and Dennis’s voice can sound like that bald Smashing Pumpkin trying to come off like Iggy or something. What is he singing about? Why does “I Know I Need a Hit Record” sound like “I don’t need a hamburger” to me? But in a way, some of it kinda…rocks? Or not? No??? I seriously don’t know. Did someone just slip something in my drink when I wasn’t looking? Okay wait…it stopped kinda rockin around the time the piano synth comes in on “Gruesome Stories.” Or is that totally great in some fucked up way?!? I think in my bizarro universe Dennis Most earned my respect. I am now going to flush my own head down the toilet. -Rocko
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The Detroit Cobras “Baby” Bloodshot Records | |
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What’s not to like on the Detroit Cobra’s latest effort “Baby”? This is what rock and roll is all about: hefty doses of soul-tinged attitude behind the monstrous back-beat thumping of drummer extraordinaire Kenny Tudrick. There are twenty tracks on the CD, all belted out in style by front gal Rachel Nagy, which are really two discs in one. Tracks 1-13 comprise “Baby” proper, with the remaining seven songs, which feature the imitable Greg Cartwright (Reigning Sound, Compulsive Gamblers, etc) on guitar, comprising the “Seven Easy Pieces” EP that was originally released in 2003 as an import only. However they divide it up, the Detroit-based Cobras are garage band Mecca and show that the hey-day of Soul has no intention of being lost in the conjugal visits of time. “Baby” is an enhanced CD with a pretty hip video for the “Cha Cha Twist”, which is a fitting tune because if you wanna do the twist in 2006, ditch the Chubby Checker and pick up a copy of “Baby”. I only wish I had the disc on LP. -Bram Riddlebarger
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The Deviltones “Riding the High Horse” Band Site | |
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It’s all original, southern, redneck, longhair rock. If you like Nashville Pussy, you would like these guys. Fondness of mammary glands not required. –Lisa
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The Dirty Royals “Obsessed America” Band Site | |
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This is pretty repetitious indie-power-Brit-pop that I don’t like. It has some slight elements of potential ‘ere and there, when it isn’t grating on me nerves, but overall it leaves me wanting. Like the fly said to the constipated cow, I can’t wait around here all day for shit to happen. - Ben
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The Dragline Bros Self-titled CD Band Site | |
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Freakin’ hell this is some good shit. The music moves me in my gut (and not in a bad way like when I eat at the Chinese buffet). This band hails from Athens, Ohio, a little college town that is known for it’s outrageous Halloween celebrations. You know, I was thinking what exactly is it about this rock band that I really like. It’s the guitars. The thick, delicious sounds of the electric guitar coupled with the lapsteel just really sparks something in me. Sometimes the vocals fall out of my favor, but the dark, roots rock reels me back in. So how would I describe the sound so that you can figure out if you want to pick up a copy of this…that’s the question. They sound like they should be on Bloodshot Records. They site their influences as The Rolling Stones, The Screaming Trees and Townes Van Zandt. How’s that? –Lisa
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Dropgun “Devil Music” Band Site | |
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Cranking riff-heavy rock-n-roll with a thick guitar crunch and nods to late 70’s punk rock, Dropgun has that sort of seasoned, drink-yourself-into-a-coma feel, which comes from living in Northeast Ohio. It is pretty mid-tempo, but has a knife-across-the-flesh kind of momentum that keeps if from being dull. That, and some bitchin’ guitar solos. - Ben
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El Jefe vs Demons Self-titled CD Band Site | |
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This is really cool, weird, necro-surf type music with a unique streak similar to Cult of the Psychic Fetus, Deadbolt, and Psychocharger (an ex-Psychocharger member would account for that, I reckon). You get 8 songs on this little homemade number to creep you and your neighbors out (and I mean that in a good way). A fine listen. - Lisa
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The Ends “Concrete Dissapointment” Dirtnap Records | |
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These guys sound a hell of a lot like the Stitches to me; that same needle-in-arm, haven’t changed my pants in a week feel. They may actually be slowed down a tad, and bring little more rock-n-roll than the Stitches, with a bit of Sex Pistols leaking in. They haven’t eclipsed their influences, but it’s still a fun listen that I’ll keep around. – Ben
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F-Units “Reject On Impact” Band Site | |
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This is super-polished pop punk from NYC. Too polished and pop for my tastes… kind of like a punk rock Journey. Everything about them is adequate but not outstanding. It’s so well engineered and sanded down that the result is perfectly smooth, but sterile and uninspired. - Ben
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Ferona Vei “Diary of A Stone Romantic” (EP) Band Site | |
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“Melodic hard rock” sure to be tearing up the modern rock track charts and playing the alternative radio station festival concert near you. In other words, about as good as a pubic hair sandwich. - Rocko
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Finger Cut Megamachine Self-titled CD Thick Records | |
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Finger Cut Megamachine is an LA-based group led by singer/guitarist/songwriter Devon Williams (ex-Osker frontman). This 2004 self-titled debut disc finds the band still in the throes of direction and formation. With more of a feel-good jam side of neo-folk rock toast than their more recent “Pipe Dreams” EP, Williams none-the-less has a clear penchant for putting a complex message into song. But too much swirling electric guitar work tends to drown the songs’ content on songs such as “Backseat” whereas the more-stripped down “Sugary Fruits” and “Open Up the Yellow Cross” provide a better proving ground for the tunes and, not surprisingly, were a harbinger of things to come from the band as that’s where the 2005 “Pipe Dreams” EP finds the FCMM sound. Overall, the eleven song disc still holds up if you’re into rainy day music and day tripping and taking long walks at the beach in a loincloth. Or if you just want an engaging backdrop as you sweep your filthy beer- and pizza-stained carpet. -Bram Riddlebarger
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Fingers Cut Megamachine “Pipe Dreams” Thick Records | |
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This is a pretty cool disc. Mellow and sweet from the outset but underneath lies a streak of discontent that seems to want to call the people to thoughtful arms. Nice production without too much grease, singer/songwriter Devon Williams knows exactly where he’s going with these tunes (e.g. the coffeehouse, the hash house, the radio). A very west coast record; the cover art is quite appropriate as it recalls thoughts of sitting on a southern Californian beach, staring out at the waves and horizon, wondering what the hell comes next in this life. -Bram Riddlebarger
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Fixed Idea “La Muerte” Broken Bonez Records | |
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From El Paso, Fixed Idea capably mix Cumbia, Reggae, Punk, Pop, and primarily Ska, to come up with what they call “El Chuco Ska.” They’ve been around since 1992, and it shows in their song crafting and musicianship. Especially great are the excellent harmonies, which seem to be a lost art in modern Ska… and music in general, actually. I am not a huge fan of most Ska, but this is done extremely well. - Ben
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Flatline Rockers “Neonlights and Hell Calling” Empire Music | |
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You know, I dread reviewing CDs a lot of times because I am afraid that I am going to put in a disc and hear the same old, clichéd music played out yet again by a different band who may as well be every other band in that genre. That is not the case here. Twelve tracks of Finnish psychobilly that isn’t stale or overdone like a burger you left on the grill too long. You get treated to a well-rounded sound that won’t have you covering your ears in dismay. While, like so many other bands they cover “Tainted Love,” they are saved by the fact that they also do an awesome cover of “Everybody’s Lovin’ My Baby.” There are a lot of top notch originals on here, but my favorite is the instrumental “Rise From the Grave.” I look forward to listening to this more in the future. –Lisa
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The Forty-Fives “High Life High Volume” Yep Roc Records | |
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I’ve seen the Forty-Fives a few times and liked them, but I wasn’t really too blown away by them. This disc, however, delivers some high quality southern garage rock produced by the prolific Jim Diamond. Its good-time party music vibe has left me seething with optimism for a new era of enlightenment and promiscuity. However, that does mean I will need to do more sit-ups. - Ben
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The Four Slicks Self-titled CD Band Site | |
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If you’re on Myspace (and I KNOW you are), you know how annoying it can get to be solicited by a dozen bands on a daily basis. This is especially a problem for me, because as soon as bands see the words “radio show” on my profile, they immediately think to themselves, “OH GOOD! This girl obviously needs to be enlightened and encouraged to play only the best bands on her show, which is where I come in!” (*Note to 99% of bands: You should stop thinking this.) So when I got the message in my inbox from a band called the Four Slicks, I must admit that it was not entirely well-received. I opened it and quickly saw that the message was being sent from a guy named Jon, formerly of the Ripoffs. Ok, so we play the Ripoffs on our radio show, and it’s good stuff. He had my attention. Jon explained that after the breakup of the Ripoffs, he moved to Paris where he joined the Four Slicks. He described them as “rockabilly garage,” but after hearing their latest CD I found it to be straight-up rocknroll, almost Devil Dogs in style. Not that I welcomed the fact that the upright bass was getting the backseat as far as my ears were concerned, but it seems that rockabilly is a bit of an acquired taste and I had high hopes that this band would appeal to garage/rock fans without alienating them with visions of pompadours and leopard-print creepers. The self-titled album, out on Slick Records, promises “17 new wild tunes from the kings of greasy punk” and in no way disappoints. The CD insert is splattered with images of hot rods and scantily-clad pinup girls, a perfect compliment to the minute-and-a-half scorchers about fast girls, fast cars and even faster living. There are no less than 7 old rocknroll/rockabilly covers, spanning from 1958-1965. Making an appearance is Johnny Horton’s “Got the Bull By the Horns,” as well as a version of “You Lied to Me Honey” by Junior Gravley and the Rock-a-Tones that is delivered with such high-octane speed that I had to check the CD to read what words were actually being sung. Originals like “No Money No Job” are a modern-day rocknroller’s anthem, while “56 Jewel” kickstarts the CD like a fist to the teeth where the knuckle tattoos read “YOUR” and “FACE.” One only need look to the liner notes for a band roster to see just how serious these guys are about rocking and rolling in style: each member is listed by position in the band, as well as sweet ride — including ’63 Ford Falcon, ’56 Dodge and ’50 Ford. A day at the dragstrip with the old man’s souped-up Chevy couldn’t touch the raw energy and pumping adrenaline rolled into this CD. - Erin Rahel [Editor’s note: Erin co-hosts a great radio show called “Hot Trash” at: www.wcsb.org. Check it out, or be a damned fool!]
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Frontkick “Underground Stories” Band Site | |
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Melodic punk outta Berlin, Frontkick lean toward the more catchy pop street sounds like Bombshell Rocks or Voice of A Generation. A little sugary for the die hard streetpunks, but the younger Warped Tour crowd could do worse than pick up on these guys. There’s a video for “36 Guns” on this disc too and they cover “Career Opportunities.” - Rocko
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Gein and the Graverobbers “The Passion of the Anti-Christ” Necro-Tone Records | |
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And the Lord said unto thee “Buyest this compact disc or be damned to a life of “Sex in the City” reruns, armpit stains on every shirt, and chronic diarrhea.” So if you don’t want to live a horribly wretched life, perhaps even worse than it already is, you better get this disc. I mean, what’s not to like? Amazing, original, dark, and creepy instrumental surf to rock out to while sacrificing helpless animals, beating innocent children, or making prank phone calls to your high school Geometry teacher. So get out there and purchase this CD! That is, unless you want to lead a cursed life. –Lisa
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The Generators “Excess Betrayal...and our Dearly Departed” Fiend Music | |
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Honestly, I don’t have much to favorably compare this against. The best I can come up with would be to ask, ‘Do you like the later DKM sorta streetpunk?’ Just keep in mind, this is a West Coast interpretation and is a tad bit over-produced. Not poppy, necessarily, but you can sure as fuck see it from here. This might be a good intro for kids who like AFI to get into something heavier, but otherwise, I’m not sure where the fan base for this might be lurking. Has some late Cali punk roots shooting up... but that doesn’t turn my crank. - Joe Pacak
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G.G. Allin & Antiseen “Murder Junkies” TKO Records | |
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Personally, I am a fan of the earlier GG Allin music from when he was with the Jabbers, and I am also a big fan of his Criminal Quartet days. His voice on this album with Antiseen, however, is real harsh and the music is monotonous. That may appeal to a lot of the more crustier fans of GG, but for me I prefer the more musically crafted songs. Actually, I do like “Dirty Love Songs” a lot too, and there was terrible musicianship on that album. However, it was very catchy and had a sense of humor that isn’t present here. I can appreciate watching him receive a beer enema from of the ass of a skanky ho as much as any GG fan, but something about this album isn’t capturing my interest musically or otherwise. There are a few exceptions, though. For example ‘Cock on the Loose”, “Laying Up with Linda” and “Outlaw Scumfuc” are three cuts that make the grade. –Lisa
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Ghostwriter “Darkest Hour” End of the West Records | |
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This is the second CD by Ghostwriter, and he has retained the gut-wrenching existential torment that made his first disc such an intense and somewhat draining experience. It’s not light listening for your next pool party, and he doesn’t mean it to be. His songs bluster and brood with a dark emotional sincerity, carrying both the self-loathing and anti-social rage of someone who has trouble finding contentment. I can relate. As a one-man band, there is no buffer to his artistic expression, which manifests in a sort of torture-throated Americana that comes straight out of a broken heartland. - Ben
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The Goldstars “Purple Girlfriend” Pravda Records | |
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I love almost all ten of the tracks on this disc. Organ laden, garage, psychedelia with smart lyrics and a raw edge that makes this a real fun listen. Admittedly, I do skip past a few tracks, but the other songs make up for the ones that fall flat. Some of the best tunes on here are “D.M.V.,” “Comin’ Home Baby” (which is an awesome instrumental), “It’s All About You,” “Purple Girlfriend” (another kick ass instrumental), and “One + One”. A plea bargain has been struck, and this disc will serve some time in my player for sure. – Lisa
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Adam Grant “In The Name of Liberty” Band Site | |
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Rock music for college freshmen. Enough pop to keep the girls listening, and enough of an alternative garage sound to make them think they found something really cool and edgy. He is less wussy than the picture of him on the CD would lead you to believe (with his Oasis haircut, black suit jacket and trendy beard), but not by much. – Lisa
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Hard Skin “Same Meat Different Gravy” Knock Out Records | |
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This is a (loving) skinhead parody band that really captures the feel of the early 80’s Oi! style, with sing along choruses for hoisting beers in the air and pretty guitar melodies to balance the ugly vocals. The parody comes from these guys knowing the ridiculousness of the lyrics, whereas so many other bands seem to be utterly clueless. They take it over the top, which made me piss myself when I heard “I put my hand on my heart and tell you it’s true, I’ll be a skin, skin, skin skinhead for you.” Song titles like “Two Chords-Two Fingers” and “Still Fighting Thatcher” alone are worth the price of admission. Actually an enjoyable album, so “stop thinking and start drinking.” – Ben
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Hateful “Diamond Among The Coal” Rebellion Records | |
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A three-piece of older guys doing ’77 style songs in the vein of the Sham Pistols if they had ever released an album. Not very driving musically, but a real workman like effort. The songs are consistent stylistically without jumping genres. - Joe Pacak
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Headwound “Ginmill” Haunted Town Records | |
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It is not everyday that you hear a hard-drinking Oi group cover John Denver, let alone do it well as a bottle-throwing barroom singalong. You might also not expect the hidden track to be from the Sound of Music either, but New Jersey’s Headwound certainly aren’t serving up run-of-the-mill fare. They have the blue-collar beer guts and sneering punk rock power that makes them one of better bands that the genre has to offer. They’re not trying to write confessional poetry here; they just craft fun songs about the merits of beer, missing Sloppy Seconds, and wanting to be a forklift operator. All remain tuneful and catchy, yet flex enough muscle to keep from going soft. This one should be in the jukebox of every liquor establishment with sweaty patrons and mud on the floor. – Ben
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Hellbats “Dark ‘N’ Mighty” Hairball 8 | |
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Metal infused psychobilly for the dark-hearted. This reminds me of ‘80’s metal with an upright, especially “Deep In Your Mind.” The instrumental title track is excellent, as well as the recreational insanity of “Asylum Park.” Most all the tracks are rockin’ with the exception of a couple that prefer to drone on. If you like Venom, I bet you’d like this. –Lisa
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Hetten Des “Cowboys with Cojones” Drunkabilly Records | |
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I try to be objective and scientific when it comes to reviewing cds, I really do. But this one, I just flat out, shamelessly love. It’s a well done, energetic mix of psychobilly, punk, rockabilly, country, and humor. Lots of clichés – drinkin’, girls, trouble, yee haws… But it’s so catchy and so well done, it’s not annoying. It works. Hetten Des is from Belgium, and has its roots in the Ratmen, Sin Alley, and Donkey Diesel, so their members have been around awhile. Sadly, right now though, Hetten Des is either on hiatus or breaking up. All the more reason to hunt down this CD NOW. Their singer (Koen Verbeek) sounds like the guy with the really deep voice from the Halo Benders, but Verbeek has a much better range and a little twang and crackle. The production has just enough distortion on the guitar, just enough country sound. There are some swell covers – “Thirteen” by Danzig, “Big River” by Johnny Cash, Hank Williams’ “Alone and Foresaken”, and “Ace of Spades”, to name a few. The band seems to really get behind their originals more though. There’s the simple bouncy love song “I.C.U.” (Say it out loud), the song that combines love and boozing “Drinkin’ About You”, and the uplifting “Hallelujah (Praise the Lord)”, and four other gems. - Carol High Hair
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The Hexxers “Freaks With the Savage Beat” & “Buried Alive!” Golly Gee Records | |
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I hope I never meet the kind of person who wouldn’t like this CD. That kind of person, if in fact one does exist, would likely suffer from painfully engorged colon polyps and sniveling idiocy. What you have here is savage 60’s inspired rock’n’roll building on foundations laid by The Sonics, The Who, Paul Revere, as well as more current savagery proffered by the likes of the The Mummies, etc. Although it has been done before, it is rarely done this well. Fronted by Ryan Sagat of Rockin’ Ryan & the Real Goners, and featuring fellow rockabilly statesman Rip Carson on guitar, there is a hint of those roots in some songs, but on the whole, this is a whole ‘nother beast. I always thought that Ryan had one of the better voices in rockabilly, but here he shows he can really up the ante with a truly feral howl. The music ranks a solid 9.5 on the Richter scale with its nearly cataclysmic amounts of shake, and I doubt there has been a more combustible display since the Hindenburg went down in flames in 1937. It’s like a soundtrack to delinquency, where youthful energy gets directed down the wrong path. The CD inhabits the tropical climate where danger and fun mix in the syrupy heat, and the virile beat becomes viral. Best to go at it without protection and love as you live: primitive. The “Buried Alive” disc offers 27 tracks from two different live shows with a ton of new songs, which makes it a nice snack until the next studio course. - Ben
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The Hi-Frequencies “Money Isn’t Everything” Teen Regime Records | |
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This is excellent traveling music. I listened to this while driving through Western Texas towards El Paso on a sunny day, and it was perfect. It is kind of like what would happen if Chuck Berry and CCR did a garagy R&B/surf album together. The guitarist has a great, fluid style and half the songs are really good 60’s sounding instrumentals that are perfectly put together to not be too sparse, yet not too brash either. A great sense of pacing gives the songs an atmosphere and depth without getting too drawn out. The singer pretty skilled as well, and the only song I didn’t care for was last track. – Ben
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High Tension Wires “Send a Message” Dirtnap Records | |
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High Tension Wires make catchy punk with memorable pop hooks and liberal doses of bounce and B vitamins to give it a vital hue. Then they take a file and sharpen up the edges so it comes off with more of a garage vibe instead of teaming with Warped Tour tedium. Puts me in the mind of the Marked Men, actually. Lyrically, they appear to have one up on the competition as well, especially with a song called “ I heart MAO Inhibitors.” With only one song on this being skip-worthy, I would say this is a keeper for sure. – Ben
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The Hollow Points “The Black Spot” Disaster Records | |
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I guess I’d say this is melodic streetpunk that occasionally veers into hardcore pacing and even includes mandolin on a couple tracks. A lot of reviews have been comparing them to Social Distortion, and while I can kind of hear that in the guitar melodies, I don’t think it is much help in describing them overall. That said, I’ve got no better reference to offer, which suggests that they are accomplishing more than an awkward amalgamation of their musical heroes. In addition, the lyrics are substantive as they proffer intelligent social commentary throughout a dark album issued forth at a dark time in history. The band seems disillusioned not only with the actions of our government, but also with the mentally lazy citizens who support it. Some bands approach political subject matter with humor and sarcasm to avoid coming off as preachy and self-important. In contrast, the Hollow Points avoid preaching by taking a more personal route and putting some genuine feeling into these songs filled with sleepless desperation. While this really isn’t my favorite style of music, it is starting to win me over despite my initial reluctance to keep listening. I may not be 100% sold on this yet, but I will definitely be coming back to it. Something about this is keeping me interested: making what I thought would be a bad review turn out in the end to be decidedly positive. – Ben
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Horace Pinker “Texas One Ten” Thick Records | |
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Horace Pinker is a four-piece pop-punk band with some MTV-like aspirations that could find some welcome fans in a feel-good Hollywood blockbuster sorta way. So if you like your punk rock pancake with lots of syrup, pick up a copy of “Texas One Ten” and get your fill. - Bram Riddlebarger
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Horror of 59 “Screams from the Cellar” Horror Of 59 | |
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You like horror? You like rock? You want to find a band that can merge the two without being a rip off or have songs seem to drudge on forever and ever and ever? Today is your lucky day because Horror of 59 fits the bill to your musical desire. With the delicious Bob Noxious on vocals, Horror of 59 plays snappy, gore-inspired tracks to put a chill up your spine and a tap in your toe. Another plus is Bob can actually sing...and talent in the vocal department is getting harder and harder to come by these days. Thirteen tracks are present on “Screams from the Cellar” and I don’t skip past many. – Lisa
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Hotrod Boogie “Last Train to Chuco” Broken Bonez Records | |
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Seven all original rockabilly tracks by a rockin’ trio who remain a mystery to me. I tried looking them up on the web to see where they were from or anything like that...but I could not find anything. The web site given doesn’t seem to work either. But I must say that I really like this band. They are upbeat, fun, and make me squirm where I sit with dancing anticipation. They have hand clapping! They have instrumentals! They have kick ass guitar! Get this unless you have a wooden leg. – Lisa
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Hudson Falcons “La Famiglia” Street Anthem Records | |
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What can I say, these guys are in a class of their own, I mean besides working class. Total originality, heartfelt lyrics, excellent music....There is more of a rock feel to the music with melodies that sort of creep up on you. The highlight is obviously the well thought out lyrics. The song Labor Day is about factory workers getting laid off while CEO’s get big bonuses, a definite injustice that happens way too often. My favorite on here is “No one gets left behind” a song dedicated to US military personel everywhere, especially the US Army Rangers. I really appreciate the fact they had the balls to come out and make a song like this, all the radical “ punks “ will hate them for it if they don’t already. Of course we all know they already hate real working class bands like the Hudson Falcons. - Jeff Lamm
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The Insaints “Sins of Saints” Disaster Records | |
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The Insaints existed from 1988-1994. Fronted by Marian Anderson, a dominatrix and sex art performer, they were widely known in concert venues and courtrooms for their extremely lewd stage antics. When was the last time you saw a singer get fisted onstage while the band played “Pipeline?” Unfortunately, Marian is no longer with us since she died in 2001 of a drug overdose. However, the music of Insaints lives on, and is compiled here. A lot of songs sound pretty good, but on the whole I think many probably worked better in the chaotic milieu of a live show. The guitars are thick and metalish, and her vocals really aren’t bad, preferring to sing rather than get all throaty or scream a lot. The enduring appeal of this is that it is delivered with some a real fire inside, and comes off like a cathartic discharge rather than just something for fun. - Ben
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Jacknife Powerbombs “Set To Go!” Band Site | |
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Since rock’n’roll has been re-introduced to the punk rock habitat over the last several years, most bands have brought to a 70’s kind of vibe to it. Jacknife Powerbombs instead bring an 80’s cock rock guitar vibe. I think it may actually be more of an Iron Maiden sound melded with Street Punk. Some pretty good songs on here, all professionally recorded. I’m not in love, but we can be casual friends. - Ben
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Jerry King & The Rivertown Ramblers “A Date With...” Band Site | |
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This is an excellent piece of work right here folks. It jumps, it croons, and it moves. A real eclectic mix of tracks from 50’s genre styles of pop to hillbilly bop to flat out rockin’. Superb musicians with top notch vocals laid out by Jerry King. The songwriting is to be appreciated as well. With no track having that contrived Rockabilly feeling to it. You will not hear “ I gotta a date ...pick her up at 8” at all on this. There are a lot of Rockabilly bands out there in my opinion that have 1 or 2 of the qualities you will find on “ A Date With Jerry King,” but fall short in the songwriting or vocals. This one is sure to win over anyone who picks it up. – Pat May
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Joecephus & The George Jonestown Massacre
Self-Titled CD Band Site | |
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Their sound is predominantly country mixed with influences ranging from metal, jazz, bluegrass and punk. It’s nice to hear a fresh take on good, old-fashioned country every once in a while that reminds me of something Merle Haggard would approve of. The guitar is often nice and twangy, and some tracks incorporate steel guitar. The electric bass sometimes has a jazz feel to it, which adds uniqueness to their sound. While I’m not a fan of the pot leaf motif on the cover, and the vocals are just adequate, the band does come off with an appealing honesty, and songs like “Citified” touch on the sort of witty songwriting that makes for enduring country music. -Lisa
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The Jolts “Jinx” Thejolts@hotmail.com | |
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While there is nothing terribly original by these Canadian upstarts playing a sort of Johnny Thunders-type rock-n-roll, it is done very, very well. I really like the vocals, and the songs are neither half-baked or overdone. This porridge is just right. A 5-song EP well worth having. – Ben
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Los Kikes Self-Titled CD Shaking Records | |
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These guys describe themselves as “the most malignant band in Israel” and I have to say, that is quite possible. This sounds completely fucked up. I can’t think of how to describe them...like trashed-out open sore ugliness that somehow comes off as the greatest thing since panty liners with wings. Profane black metal and surf are the main culprits, with some garage psyche and noisy rock’n’roll also crammed into that messy lo-fi blender. A dark, echoey, and unholy racket that doesn’t sound like anyone else I can pinpoint (maybe a little Lamps in the vocals). -Ben
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King Drapes “Rockabilly Rules!” Raucous Records | |
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This Finnish trio puts a fresh spin on rockabilly and saves it from a doom worse than the recycled “20 Flight Rock” pit of hell. The female takes the lead on vocals and electric bass, and her singing is quite beautiful, although it may just be that I’m a sucker for accents. The more I listen to this the more I am taken in by the reverb and the peculiar quality of the music. As each song passes I find myself falling more in love with this disc. Devoted traditionalists may want to pass this by, but then I will throw eggs at you and call you a loser. –Lisa
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Kings of Nuthin’ “Over the Counter Culture” Sailors Grave Records | |
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The Kings Of Nuthin’ are one of those bands whose success is surprising. They don’t pander to any particular scene, yet have been embraced by many of them. Having started off aiming to be a rockabilly band, there are still some aspects of that in their music, and they are well-respected in that scene. Having way more aggression than the average rockabilly band, however, they appeal to the psychobilly scene without resorting to songs about graveyards and zombies. They also have shared more than a few bills with punk rock bands of every ilk, belying what was probably their first love. They appeal strongly to all these different music scenes, all while playing what is probably best described in their own words as “punk rock rhythm and blues.” This newest CD shows them in the mood to do covers of some of their favorite songs, mostly British punk, in this style, with 8 of the 14 songs being covers. They do songs by Peter & The Test Tube Babies, Eater, Anti-Nowhere League, Blitz, and Stiff Little Fingers. This choice would make them risk being seen as a novelty act interpreting old favorites. However, instead of this happening, the covers manage to retain the immediacy and edge of the originals while putting their own stamp on them. In addition, the choices of songs are not the same tired covers overdone by every hackneyed stateside Anglophile Oi band. They don’t do “So What,” “Alternative Ulster,” or “New Age.” While they do “Banned From The Pubs,” it seems obvious this choice was based on common experience, and they do have the good taste to sing it as “banned from the bar” as proud Bostonians should. The other covers here go back a bit further in 50’s R&B with great cuts by The Nite Riders, Hank Ballard & the Midnighters, and “I Smell A Rat” by songwriters Leiber & Stoller, originally done by Big Mama Thornton. Furthermore, the originals on this disc more than carry their weight, making me think it may be better to do well-chosen covers in an inspired way than to pad an album with new songs hastily recorded and not yet ready to be released. Sounds like quality control to me. When KON do pen a song, the lyrics tend not to be fatuous tripe, but actually have some thought and artistry to them. The writing has a hard-bitten truth to it, complete with anger, regret, disappointment, and discontent… all channeled through the damaged throat of frontman Torr Skoog and backed by some amped-up barrelhouse blues. The musicianship and compositions are getting better and better with every release. Nothing is there that doesn’t need to be, and what is there is expertly executed. I am also very pleased with the guitar tone, which is much better on this album. All in all, this CD is something I’ll be coming back to, and it is sure to liven up the party. – Ben
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Knockout Pills “1+1=Ate” Estrus Records | |
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At first I was a little resistant to this album at first, thinking it wasn’t as good as their debut disc on Dead-Beat Records. Upon further listening and after much consultation with my attorney, however, I am prepared to publicly testify that this disc is actually far from a disappointment. It just shifts a little more toward the power-pop end of the garage spectrum. That said, the engine is still firing on all 4-tracks, with a tank full of rock’n’roll and plenty of punk in the trunk. I’d put them in a similar camp as the Marked Men, and that is good company to keep. - Ben
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The Koffin Kats “Inhumane” www.thekoffinkats.com | |
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Here we have some trashy psychobilly from the depths of Detroit that will have you looking over your shoulder for sneak attacks and killers lurking in corners. I have seen these guys several times live and to tell you truthfully, I like them better live. Vic’s vocals seem to lose their crude edge on the studio disc and sound a bit forced and too loungy, whereas live the vocals are much more raw and intimidating. Musically, the CD is solid with a lot of fun, unique guitar riffs and pounding bass rhythms to keep you kickin’ up your heels and downing the beers. Get this disc for sure though so you can croon along when you get to catch these guys live. –Lisa
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The Koffin Kats “Straying From The Pack” Hairball 8 | |
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Whereas on their last album (“Inhumane”) I thought Vic’s vocals were a bit forced, that is not the case here. With the addition of a new drummer and the kinks worked out on the vocals, this is quickly becoming a favorite album. Intense, fast, gutsy psychobilly that will slap you across the cheek. Well written songs, varied tempo and skilled musicians make this a must have. You will love the guitar. You will love the bass. You will love the drums. You will love the pine tree air freshener that hangs from the rearview window of their van. You will love this album. –Lisa
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The Krunchies “In De Winkel” Criminal IQ Records | |
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I actually bought this disc, so I don’t feel obligated to give a full review, other than to say this is blazing hardcore in the classical sense, faster than a bullet through a manic depressives head and with a garage feel to the guitars. I mean, this shit is seriously rapid. Damn. The vocals go back and forth between male and female, and aren’t exactly subdued. I can’t imagine a fan of punk rock not liking this, but then again, I never expected that lump in my man-breast to be cancer. Whatever. This is the goods. – Ben
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Labor Force “…True to the Blue” Band Site | |
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After you do reviews for a good while you get really tired of press sheets touting Band X’s delusions of having a strikingly revolutionary sound that defies categorization and will usher in a grand new epoch in musical history. Modesty is an underrated virtue, especially among the talentless. A big ego is my least favorite trait in bands and people in general. That’s why I was immediately won over by Labor Force’s ability to keep things in perspective. They don’t claim to be ground-breaking virtuosos, or to be “straying far from the obligatory three chord standard usually associated with the genre.” Instead, this is just great blue-collar punk rock featuring catchy sing-along choruses with well-balanced melody and aggression. It kind of reminds me of Pistol Grip, Tommy Gutless, or the first Dropkick Murphys’ album (sans the Irish influence). The lyrics espouse the usual working-class ethics and plight, but come off with tons of sincerity and zero pretense. While there is not a lot of variety between songs, the disc goes by very easily on the ears. I’ll take this band over any of the street punk bands out there barking their banality without hooks. - Ben
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Larry And His Flask “Dancin’ Tonight” larryandhisflask@hotmail.com | |
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Five idiots. Five instruments. One goal: fucker rock and roll! At least that’s what these guys claim. A four song EP of some pretty decent street rock with a slight metal flavor. Unique riffs and some kick ass drumming make these guys a little different from the rest. –Lisa
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Th’ Legendary Shack Shakers “Believe” wYep Roc Records | |
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As soon as the first track started to play I said to myself “Now this is going to be a purely amazing album,” and I was not disappointed. While not every song is as astonishing as “Agony Wagon,” you will by no means be saddened or regret having spent your money on this album. Southern gothic rock with a healthy dose of evangelical spirits and a splash of blues, punk and country make this a must have shot of heterogenous Appalachian moonshine. –Lisa
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Levi Dexter & The Ripchords “Victims of Kool” Raucous Records | |
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Formed after Levi’s parting with the Rockats, an early version of the Ripchords very briefly featured a pre-Stray Cats Brian Setzer. However, he was gone before the Ripchords formalized their line-up and began recording. No worries, however, since Danny B. Harvey capably handles the guitar duties on these sessions recorded in 1980-81, some only now being properly released. Interestingly enough, in 1981, Danny left the Ripchords, moved to New York, and to join the Rockats (now called the Secret Hearts). While this version of the Ripchords only lasted a short time, their sound was tight, spirited, and certainly influential to the best elements of the current neo-rockabilly scene. The songs here are well-produced (not glossed-up or amateurish), and are upbeat, fun, and easily stand the test of time. Hard to sit still and listen to this with scowl on your face, unless that stick up your ass has firmly taken root. - Ben
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Live Fast Die “Bandana Thrash Record” Dead Beat Records | |
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At times these guys remind me a little of the Jabbers, The Ramones, and the Stooges. The songs are often catchy, funny, very lo-fi and sloppier than day three at a hedonism resort. I am really enjoying this. With songs about amputation, shitting the bed, and their love of weapons, how can you go wrong? - Ben
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Lucky Punch “Kick Up a Hullabaloo” Dead Beat Records | |
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These guys are from Munich and have a big rock sound that hearkens back to the 70’s while adding a little modern flair, causing a lot of comparisons to the Hellacopters and Supersuckers. In general, I prefer less polish in the production, but this is so well played and skillfully done that they still manage to raise a nice ruckus for the most part. There are some memorable guitar hooks and a little blues shuffle and harmonica in parts too. As I listen it grows on me more. Not bad. – Ben
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Mad Marge and the Stonecutters Self-titled CD Band Site | |
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The all-too-rare female-fronted psychobilly band that also doesn’t serve up the usual horrible third-rate street punk vocals or a bad Popeye imitation … nice! The musicians are exceptional, especially the bass player. Godless Wicked Creeps are probably the most apt musical comparison, but with Gwen Stefani singing. As odd as that may sound, the combination is not a volatile one. A pretty impressive debut in a genre filled with mostly terrible cookie cutter psychobilly. – Ben
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Mad Sin “Dead Moon’s Calling” Sailors Grave Records | |
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Mad Sin have been playing psychobilly since the late 80’s, and for my money, their best album was 1988’s “Chills and Thrills in a Drama of Mad Sin and Mystery.” It just has that classic psycho sound: the guitars had the requisite twang, the tempo was breakneck, and there was an unmistakable energy to the proceedings. This still has quite a lot of energy, but it just seems too neat and tidy. Along the way they started to incorporate thicker metal guitar tones, better production, and pop-punk hooks - all with mixed results. Additionally, this disc almost seems as if they are trying to piggyback on the success of their peers, the Nekromantix. Or maybe this latest shift in their sound can better be explained by the addition of the (sorely missed) Nekromantix guitar player, Pete Sandorf, who also contributes the great backing vocals here that he was known for in his former band. The blurring of lines and exchange of DNA between these two psychobilly mainstays isn’t necessarily bad, as they pull it off quite well, but it just doesn’t make “Dead Moon’s Calling” leap out as something special to take note of. It is decent and highly listenable, and I am sure they are still very good live, but to me it just feels a little bit hollow. – Ben
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Mark Pickerel & His Praying Hands “Snake in the Radio” Bloodshot Records | |
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Boy, was I excited to get this disc in my hands. I’ve long been a fan of Mark Pickerel’s drumming since back in his Screaming Trees’ days and have followed his work with such notable artists as Nirvana and Mark Lanegan (he’s also contributed work to Brandi Carlile and Neko Case). Pickerel steps into the singer/songwriter lights with “Snake in the Radio,” his first solo disc that’s tinged with alt-country hooks and haunting pedal steel work filtered through a grunge sieve. Notably produced by Steve Fisk, who also produced some of the best Screaming Trees work, Pickerel’s got a low baritone that, along with the general vibe of the disc, calls to mind the superb “Year of Mondays” record by another ex-Lanegan sideman, Mike Johnson. “I’ll Wait,” a fine ballad, stands out and also lays off the vocal doubling which is present on the first three tracks. Not that the opening tracks don’t have merit, but it’s nice that the stories are told with one voice from there on out. It’s like the first uncertainly in the beginning of a new relationship giving way to confidence, standing and strength. Let’s hope there’s more to come because “Snake it the Radio” is a stellar first offering. (Note to Bloodshot: Oh yeah, and it’s acoustic damn it! Acoustic! See linear notes for anal-retentive typo outrage and correct for the second pressing.) -Bram Riddlebarger
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Thee Merry Widows Self-titled EP Band Site | |
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As an original, all-female psycho band from Oakland, California, these ladies site Demented Are Go, The Misfits, Screamin’ Jay Hawkins, and The Runaways as their influences, and I would say this is pretty accurate. There’s only four tracks on this little number and I am left wanting more. While catchy and aggressive aren’t good things when it comes to plasmodial parasites, they are quite good things here. I had the chance to catch a few of their songs live at Heavy Rebel a few years ago and it was quite enjoyable as well. I’d like to hear a full-length from these ladies for sure. –Lisa
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The Meteors “The Lost Album” Raucous Records | |
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For me some Meteors stuff is top shelf goods, while some is half-assed or worse. Fortunately, this album is the former in a big way. Recorded in 1980, this is the original line-up doing 16 rowdy rockabilly hits that would later spawn the psychobilly genre in England. Even though a sizable chunk of these tunes are covers from the 50’s, the energy and performance puts them in a class of their own. While psychobilly today has largely devolved into less talented bands with heavy distortion flinging their uninspired turds at the public, this perfectly lo-fi session boasts a band with a real wild streak banging on reverby guitars with a snarling indolence. Highly recommended. – Ben
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The Milky Ways Self-titled CD Alive Records | |
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From Montreal, the Milky Ways could’ve come straight out of the 1960’s with keyboards and narcotics in tow. There is a “Back from the Grave” garage vibe with an authentic-sounding production, and a touch of psychedelic transcendentalism that makes it hypnotic and inspiring. Puts me in the mind of a less wacked-out Black Lips featuring ex-members of The Spaceshits, Del-Gators, and The Sexareenos. Cool stuff. I am digging it. – Ben
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The Mind Controls Self-titled CD Dirtnap Records | |
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The first song on the CD is pure house party punk rock at its hairy knuckled best. The Mind Controls are fronted by Mark Sultan (BBQ, Sexareeenos, Spaceshits), and they whip out some crude, pulse-racing, rudimentary rock’n’roll that’ll help those early morning beers go down much easier. Great vocals, and guitars so dirty they need a shot of penicillin. It is difficult to quantify what sets this apart from the teaming throngs of three-chord yawn punks, but set apart it remains. - Ben
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The Misguided “Home Town Zeros” Baseline Music | |
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Pop punk quad from California who are quite good musicians. The bass lines get very intricate and the guitar comes up with some interesting, almost metalish riffs. This is very listener friendly and has strong commercial radio potential. That being said, it’s raising my shoulders more than my eyebrows. Can’t help but to shrug it off. - Lisa
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The Moaners “Dark Snack” Band Site | |
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I am conflicted by this CD. The band is a stripped down two-piece guitar and drums ensemble with a strong Southern feel and big, distorted blues guitar that reminds me of early Immortal Lee County Killers, but slowed down a bit. All that is quite good. Melissa Swingle’s (of Trailer Bride) syrupy drawl over top of that is where I am conflicted. Those vocals work PERFECT with Trailer Bride, but for The Moaners I feel she is too restrained. I want to hear her let loose. I want to hear a scream. I want to hear some roughness, some coarseness, some poverty. I want her vocals to match the music. While some may find the dichotomy unique and artistic, it leaves me frustrated and unsatisfied. The music and lyrics are great though. I just am not getting that orgasmic release. –Lisa
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Modern Machines “Take It, Somebody!” Dirtnap Records | |
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This is my introduction to a band that I’ve read a lot about in the last couple years. They are definitely influenced by the Replacements, and have a little bit of a folk undertone to them. The singing veers a little out of my comfort zone, but the songs are generally well put together and seem to have depth to them. I can almost feel myself liking it, but not quite. - Ben
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The Mutants “Mutants Death Cult” Band Site | |
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All the way from Helsinki, Finland comes a band so kick-ass that it is nearly impossible for me to use the written word to fully explain their majestic-ness. According to the press sheet: “take the fuzz of 60’s garage beat, some hints of psychedelia from the same bygone era, then add some funky rhythms and grooves from the 70’s, and mix that all with damnedly plain rock ‘n’ roll music and some punk attitude.” Follow all that? Seems like a recipe easy to mess up, but you’re in good hands here. The Mutants are all instrumental, and they do not get boring. Have sex to The Mutants. Eat a delicious chicken dinner with mashed potatoes while listening to The Mutants. Win the lottery while listening to The Mutants. Live a fulfilled life and owe it all to The Mutants. – Lisa
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Nashville Pussy “Get Some” Band Site | |
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I think with bands like Nashville Pussy, you either love them or hate them. However, I am just plain bored with them. It’s the same old southern, redneck, Sweaty Teddy tribute rock. I’m sure that if I were a fan of this music I would give them a great review. But usually, even if I don’t really like the type of music, I can still appreciate the craftsmanship that goes into it. Yeah, they can play their instruments and they are pretty good at it. But even a competent band can still bore the socks off of me no matter what genre (my god there are a TON of boring ass traditional rockabilly bands that are good musicians). So, I am reporting thumbs down on this disc. I think I need some caffeine now. – Lisa
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Nazi Dogs “Chase The Man” TKO Records | |
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The Killed By Death sound has really taken off in the past few years and this German band definitely fits in with that rather enjoyable trend. The cover has G.W and Hitler’s heads cropped onto an “Easyrider” poster - pretty funny. Like their music, it takes the irreverence of that early period of punk and accurately translates it to our currently fucked up era. By that I don’t mean annoyingly political, but blissfully nihilistic. - Ben
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The Nebulas “It’s Go! Time” Band Site | |
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If you’re a fan of instrumental surf along the lines of Satan’s Pilgrims, Man or Astroman?, The Ghastly Ones, etc., then you’ll want to take a dip in these shimmering pools of reverb. I personally can never get enough of this stuff. The Nebulas expertly fold up space-time into a tasty cosmological sandwich that you’ll be craving long after the CD ends. - Ben
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Nobody’s Hero 6-song Demo Band Site | |
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For a demo CD these songs sound remarkably full. Nobody’s Hero drew on a wide assortment Punk, Oi, and Hardcore influences, and came up with something that sounds like it could have been ripped from 1988. They were fronted by Ehren Daley, who tragically died in New York this year at the age of 33. I knew Ehren for a long time, and although we’d only see each other a few times a year, I still considered him a good friend. He was always passing me cassettes of music that he made on his 4-track at home, and Nobody’s Hero was the first real band that he got together since he was in Crowd 13 when he was a teenager. He was so excited about music that anyone who spoke with him instantly knew it was punk rock that kept him (reasonably) sane while saddled with wife, kids, and work. Most every time we’d be hanging out, alcohol would be involved. He was hilarious and a sometimes a handful when he was drunk (chainsaw to a telephone pole, anyone?). I remember him getting obliterated at a Memorial Day party at my house. He tried to dive through a tractor tire swing while it was in motion, missed, and knocked himself completely unconscious. Then he got up, grabbed another beer, verbal accosted some people, told a long rambling joke, then passed out in my backyard, pissing all over himself in the afternoon sun. Good times! Another time he rode a tricycle through a Cleveland neighborhood at 8am on Sunday morning, completely naked. Now that’s something to see on your way to church, and it’s funny stuff like that which I will always remember. There are many more stories, but I can’t really tell them here. Ehren was always extremely supportive of Rock N Roll Purgatory and made me feel like it was something worthwhile. I hadn’t published an issue since he gave me this demo CD probably 2 years ago, and know he really wanted to see a review. I also wasn’t able to fly back to Ohio for his funeral, so this is really my only way of saying goodbye. Rest in Peace, Ehren. You are sorely missed. - Ben
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Nora O’Connor “Til the Dawn” Bloodshot Records | |
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If there happened to be a neo-folk movement whispering through the grasses of this haunted America that we live in, then Nora O’Connor is right in the midst of it. “Til the Dawn” contains a nice selection of original material as well as contributions from numerous other songwriters including several cuts (“Bottoms” and “Nightingale”) from by James Mathus and “That’s Alright” by Stevie Nicks. Stand-out tracks like “Love Letters” and “Revolver” showcase the diverse sounds O’Connor can masterly convey with her lullaby-sweet voice. After putting in support time with bands such as The Blacks, Andrew Bird’s Bowl of Fire (Bird plays fiddle on this disc), Billy Corgan, Jeff Tweedy, and many others, O’Connor has stepped forth in her first solo effort with a commanding presence. -Bram Riddlebarger
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The Overdogs “Live at Reveal” and “Pawnshop Masterpiece” Zero Youth Records | |
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The Overdogs play drunk punk with funny lyrics about porn, hicks, wrecked bathrooms, and ugly people. The songs are speedy, and these guys obviously don’t take themselves too seriously. The music is pretty standard punk stuff, though. Kind of like Sloppy Seconds with faster delivery and more metal guitars. Not hard to listen to, but not essential either. I’d split a case with them, though. - Ben
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Parasites “Retro-Pop Remasters” Band Site | |
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This pop punk group has been around for over a decade and this disc is the culmination of their greatest hits which have all been remastered. This is gooey, stick to the bottom of your shoe pop for fans of radio friendly “punk.” It IS good for what is is though, and if you like this type of music I’m sure you will love this disc. I can’t listen to this without getting slightly nauseated. -Lisa
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The Peelers “Let’s Detonate” Beercan Records | |
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I liked these guys the instant the first song started shooting delightful Devo rays at me through my car speakers. While the subtle Devo vibe is in there somehow, this is definitely more of a rough-hewn 70’s punk rock with a tackle box full of happy hooks and enticing lures. A real winner you can take home to meet the parents. - Ben
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Phantom Creeps / Damien Storm “Went to Hell” split CD Necro-Tone Records | |
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The Phantom Creeps feature the evil, reverb-drowned surf guitar stylings of Gein & and the Graverobbers (provided by Gein himself) paired with the vocalist from the Demon Seeds (John Kozik). I don’t really think the vocals work on the slow opening track at all, though. Luckily, the second track ditches vocals altogether for a creepy, moody instrumental that could’ve easily been on a Graverobbers disc. Their next two songs are demos. The first one fares a little better vocally by merit of them being distorted and lower in the mix. The next one is another dark instro that mutates the classic “Sleep Walk” into “Creep Walk,” but is still pretty sleepy. Damien Storm offers four songs next, which are poorly recorded “horror metal.” He is a solo act with songs that are kind of ethereal… and comical because he sings like a man impersonating a little girl... really, really badly. It is not so bad that it’s good, but it is so bad I am laughing my ass off. He has to be going for comedy, and one song would be good enough to make that joke. I will say this, though: it stands out from all the other bands in my review pile. - Ben
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The Phenoms “Home Brain Surgery Kit” Beercan Records | |
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This CD could substitute for a defibrillator it’s so chock full of life-pumping voltage. Manic, impatient guitars rampage along in a blaring spasm of rock’n’roll muscle. They keep it nice and unrefined so as not to dull the point. Next time I’m in Chicago I’ll see if they are playing and go spit beer at them. Cool stuff. - Ben
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Psycho Charger “Curse of the Psycho” Band Site | |
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Psycho Charger have been subjecting the willing masses to their bizarre live shows for years. Whether they are tar and feathering themselves, wearing nothing but raw meat, or splashing around in baby pools filled with breakfast foods, it’s always a good time once the obligatory technical problems are worked out. They are a full band playing campy horror-themed rockabilly with distorted vocals backed by programmed industrial rhythms. It comes of lowdown and mean as it churns and grinds along like a redneck robot at the helm of a Sherman tank. There are 20 songs crammed onto this, and while most songs have the same beat, they just sound cool. My favorites are the sped-up crushers like “Roadkill” and “Route 666.” This is probably not like anything else in your collection. - Ben
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Pug Uglies “Minimum Wage” Rebellion Records | |
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This is actually good Boston street punk, sometimes bordering on Oi-core. Not slow and plodding, nor is it just a bunch of barking vocals. Instead they keep things riled up like a bar fight with forceful vocals that manage to retain a sense of melody that never goes too far. These guys sound like the real deal: antisocial, drunk and pissed, but also with a good dose of weariness to give it a hard-lived credibility. Worth looking up. - Ben
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Radar Station “Spirit of Desire” Wanton Records | |
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Here is a 6 song EP from a 70’s inspired rock band from Finland. The website is all in Finnish, so I couldn’t really find any information on them. They sing in English and even have a song called “ScumFuckSexGod” which has some nice, drudgy guitars, groovin’ rhythm, and dirty vocals. Not a bad listen at all, just wish I could find some info on them. I’d like to hear some more from these guys. –Lisa
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Jon Rauhouse “Steel Guitar Rodeo” Bloodshot Records | |
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I think this is Jon Rauhouse’s second album. He’s usually a guest player on a myriad of other artists’ CDs, but here those artists turn up as his guest, including Neko Case, Calexico, Kelly Hogan and Sally Timms. Both Neko and Kelly provide outstanding vocal assistance, but I was much less impressed with the singing by Sally Timms. The overall feel of the album is a sort of 1930’s sort of western swing, but more laid back. It reminds me of something you would listen to while swinging in a hammock on a lazy summer day. There’s a cover of the Perry Mason theme and Raymond Scott’s “Powerhouse” among others. A couple tracks have male vocals - one being sort of ‘cowboyesque,’ and another that is sort of garagy with an organ. I liked this album but it didn’t strike me as overly exceptional. – Ben
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Radio Reelers “The Next Best Thing” Dead Beat Records | |
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This is pretty awesome straightforward rock’n’roll played fast and fun. They remind me of the Devil Dogs a lot. My biggest gripe is that the vocals are kind of buried in the mix, which is unfortunate because the singer isn’t bad. It’s weird too, because it’s not exactly a lo-fi recording, so it seems intentional for some reason. Still, a very solid album of upbeat good times. Perhaps not quite as good as their last one (which was mixed better), but I wouldn’t kick it out of bed for eating crackers. - Ben
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Reducers S.F. “Raise Your Hackles” Band Site | |
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Pretty much your typical anthemic street punk band. Not terrible, but not all that inspiring either. Kinda like a genre filler band. I think I may have liked their first album better. Pretty ordinary, I won’t be listening to it again. –Ben
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Reno Divorce “Naysayers and Yesmen/Laugh Now Cry Later” Street Anthem Records | |
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It is uncanny how much this band sounds like Social Distortion straight out of the gate. A lot of bands get saddled with that comparison, but Reno Divorce REALLY sounds like Social D. They have the lyrics, the voice, the guitar melody, and the style. They even do a cover of Johnny Cash as well, but it is thankfully not one of the usuals. They have the country-punk recipe down and serve it up perfectly. It’s hard to like, and if you’ve been let down by Social D as of late, you find these 19 tracks a welcome addition to their catalog. My only gripe is that their greatest strength is emulating someone else. - Ben
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Resident Genius / Howard Zinn “You Can’t Blow Up a Social Relationship” Thick Records | |
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Resident Genius plays politically overwhelmed indie rock here. There’s something about “Dear Mr. President” that seems too precious and cute. It’s not pissed off. It’s light and delicate with vocals that come off smug, like a waify college kid writing a poppy protest song. The rest of their songs suffer the same limpness, although I may agree with their intent. The rest of the CD is pieced together from talks given by the famed dissident historian Howard Zinn. I enjoyed listening to what he had to say about how history is taught (or not taught) in our classrooms. For example, they may learn who was president during the Mexican War, but not how and why the war started, which would then enable the public to understand the government’s motives and justifications for imperialism, and allow them to be on guard for similar lies and manufactured incidents in the future. He goes on to talk about the notion of patriotism being conflated with an unquestioning allegiance to government, our passive supplication to our leaders being more machiavellian than democratic, and many more engaging topics too involved to get into here. Whatever your political affiliations, it is good to at least listen to his point of view and consider it. Personally, I’ve seen Zinn speak before and wish more people would be at least be exposed to these ideas, which might spark some all-to-rare critical thinking. - Ben
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Retching Red “Get Your Red Wings” Band Site | |
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This is female-fronted hardcore at breakneck speed that instantly knocked my dick in the dirt. Awesome. I didn’t know what to expect from the cover: a supine girl with a devil head in her crotch puking out blood, but this rips and tears like an epesiotomy. Take the lyrics from the first track: “I’m pissing battery acid / that’s the kind of bitch I am / Mother Nature made a biohazard alien / strap you down to the floor / straddle your fucking head / gonna let it flow / you’re gonna wish you were dead / I’ll make you look like you really are / a fiend reborn / twisted and deformed.” Imagine that coming at you twenty words per second with a level of rage not just impressive for girl, but impressive period. - Ben
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The Returnables Self-Titled CD-EP Returnables | |
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These are four studio tracks and three live songs by this power pop band from Wisconsin. Sadly, their guitarist, John Glick, was killed in an auto accident after these recordings, and this is a benefit CD for his memorial fund. They drew influence from bands like the Undertones, Replacements, Dickies, and the Buzzcocks, and the result is an endearingly geeky and pretty listenable. - Ben
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Rezurex “Beyond the Grave” Fiendforce | |
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This psychobilly band fronted by Daniel deLeon (Insaints, Calavera) also features members of Nekromantix, Tiger Army and Cosmic Voodoo. They touch on the usual themes, play very well, and have shellacked it all with a dark pop veneer. Several of the songs stand out, and I like the fact that he doesn’t feel the need to affect the typical bad Oi band monster-vocals. There are few standout tracks and some complex arrangements, but my attention started to wane about halfway through. I am sure they would be good to see live, though. - Ben
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Rock’N’Roll Monkey & The Robots “Detroit Trauma” Drastic Plastic | |
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I love that this CD came with a pamplet entitled “A Music Journalist’s Guide to: Rock’N’Roll Monkey & the Robots.” The CD contains some weird psychedelic garage pop songs recorded as 4-track demos with Craig Campbell playing guitar, bass, and casio keyboards. Then it was later mastered with added instrumentation by whoever he was hanging out with at the time. At times I hear a bit of Billy Childish influence, and overall this is oddly appealing... or should I say odd and appealing. - Ben
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Rock’N’Roll Stormtroopers “On Fire” Full Breach 77 | |
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Some things are too much fun to resist, and this German glam-punk band is one of them. Gloriously dumb songs like “Bulldozer On The Loose” and “(We Are) Ready To Rock” connote the 70’s rock sounds of Slade, Sweet, New York Dolls, Twisted Sister, Kiss, etc. I was apprehensive looking at the cover with the band in cut-off jean jackets and daisy dukes, but if you can bring the rock like these guys, you can flaunt those hairy man legs all you want. - Ben
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Rockin’ Ryan & the Real Goners “Cry Of Midnight” Golly Gee Records | |
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Here is the second release on Golly Gee Records by Rockin’ Ryan, and Jerome Van Gasteren has been replaced on guitar by none other than Rip Carson, who also now works with Ryan in The Hexxers. He is definitely a fantastic player, but I was a big fan of Jerome’s work on the previous album. This one is no letdown, though. It has a darker feel to it, and actually provides a sort of middle ground between the sound on his previous album and the Hexxers. Any fan of Rockabilly with a little more meat on the bone will quickly warm up to this. - Ben
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Rockin’ Paradox “No Frutti Ma’ Fare” rockinparadox@hotmail.com | |
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Not too sure where in Europe these fellas are from, but they play neo-rockabilly without the 50’s guitar tone, and present with a full, modern production. The band also adds a lot of country stylings, bringing a more mature, contemporary feel. Strikingly middle-America sounding for a band coming out of Europe. Doesn’t really move me. – Ben
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RockitMen Self-titled CD Band Site | |
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The packaging on this self-described rockabilly record has a marked absence of cars, lust or vice which could have been refreshingly nice if the usual suspects weren’t solely replaced by the bands unfortunately corny moniker against a straight black backdrop. Sonically, the musicianship is accomplished, but, rather than rockabilly, tends to lean towards a pop-country/blues sound often found at your local county fair or VFW stage. Feel good, rockin’ songs dominate with traces of the late great Carl Perkins sprinkled throughout like pepper on eggs sunnyside up. - Bram Riddlebarger
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Rosematter “Real Big Time” Band Site | |
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I feel kind of bad because I’ve given a bad review to everything that Just Rock PR sent me, but that’s the breaks. I was wondering if this CD would showcase the first Emo band to ever win me over. Nope. The first track is instrumental and might make you too drowsy to drive. Then the disc heads right into that weird pop lobotomy sound that goes so well with teen movies and afternoons spent buying shoes at the mall. This is worlds away from mine. I like my music beaten and dragged through gutters, not rolled up in cozy down comforters eating Spaghetti-O’s. This is so non-threatening and mind-numbing that it could be used as a local anesthetic. It’s like Judy Blume to your Hemingway. I remember liking Hanson more than this. -Ben
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The Route 66 Killers “Murder on Beaver Street” Band Site | |
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There are 15 original surf instrumentals on this disc, all of which aren’t necessarily as dark as you’d expect from a horror surf outfit. A lot of songs have an Eastern European feel to them or mix in Spanish guitar. All is tastefully subdued, creating mood and atmosphere instead of kitsch. Quite good. - Ben
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The Roy Kay Trio “Rock-A-Way Lonesome Moon” Band Site | |
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This drummerless trio plays really authentic sounding rockabilly and western swing. The vast majority of songs on here are originals that are done with a real feel for the music rather than simply navigating through all the rockabilly waypoints. The singer’s voice in unremarkable, but somehow that keeps it from sounding too perfect and quaint. This one is sure to please traditionalists, yet it avoids all the “hep cat daddy-o” pratfalls that make rockabilly sometimes seem like a caricature of itself. A decent, laid back, Sunday afternoon CD. –Ben
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RumbleJetts "Roostina" Band Site | |
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This is the second album of Modern Rockabilly from this Kansas City trio. I didn’t dislike this album. I didn’t really like it either. Good musicians, good vocals. Everything just good. Nothing really jumps out at me when I listen to it. Not that I’m looking for something specific to jump out at me ,but this just kept creeping into the background of my listening attention. – Pat May
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The Runs “Wet Sounds” Urban Cheese | |
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Just looking at song titles like “My Girlfriend’s an Australopithecine” and “Your Butt Begs for Butter,” I was already infatuated with this band. Unfortunately they dealt me a crushing blow, effectively wiping away those amorous feelings with the bland rag of banality. The music is pretty generic and the vocals are just plain bad. – Ben
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Saababanks Self-titled CD Wooden Man Records | |
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Stoner experimental vibe. I can see people either really hating this or liking it mildly, depending on your mood and what you are doing at the time. I am listening to it now through headphones in my cubicle, and it kind of zones me out nicely as I work, but I wouldn’t put this on to rock out. The singer kind of yells and is a foreigner to melody, but sometimes it works. They often go into that choppy 2/2 time signature, and sometimes the songs have pretty nice sleepy-time basslines, then get loud and sort of edgy. Nothing really hooks you or stands out in either a good or bad way. I am ambivalent about this. If four songs over the five-minute mark scares you off, then be very afraid. – Ben
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Sab Grey & The Royal Americans “Third Left on the Right” Band Site | |
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Mostly slow but good country music with a little rockabilly in parts (best displayed on scorcher, “Wasted In DC”), and I am even getting a strong whiff of Bruce Springsteen (not Bruce Dickinson). This is actually really well-played. It might be a bit of stretch for the average punk fan, but I’m sure many of the old Iron Cross (not Iron Maiden) fans will have aged in this direction. Honestly, though, it isn’t something I’d put in a lot, as it just doesn’t grab me completely for whatever reason. I do love his business card. It says “Sab Grey: Singer/Songwriter, Guitar Player, Carpenter.” I think that sums up what does work here: a real honesty and depth to the music. He’s not a phony workingman’s protagonist with the same old unfelt platitudes. Instead, you get something that’s quintessentially All-American... in the good way. - Ben
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The Salt Miners “A Good Time to be Had” Band Site | |
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The first 3 songs on this are brilliant bluegrass with a sort of turn of the century feel to them. Having seen this band and really liked them, I was hoping it would continue in this vein. However, the remainder of the disc slows down into a more mellow country-rock territory that lends itself more to a sleepy NPR folk program. If the album kept the momentum of the first tracks, it would be fantastic. - Ben
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The Shitkickers “Noon’s Moonlight” Band Site | |
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If you like your folk/country/bluegrass with a good bit of attitude you’ll really like this band from San Jose, California. This disc has 16 tracks that range from decent to full fledged awesomeness. Some of my favorite tracks are “Home,” “Rat Farts,” “Burn It Down,” and “Pacifico Clara.” This album was recorded at the famous Sun Studio. They define themselves as ‘swampscat, cowpunk, skatestomp, drunken bluegrass fishing music’. I define them as sweet-ass. –Lisa
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Shot Baker “Awake” Band Site | |
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I can see some street punk and modern hardcore influences, which has garnered comparisons to bands such as Avail and Pegboy. They seem to inhabit a sub-strain of punk that I’m not too familiar with (I’ve never heard Avail or Pegboy). The singer has vocal similarities to the singer from the Dropkick Murphies (Al Barr), yet they definitely aren’t Irish inflected. The songs are well played and structured, balancing melody and ugliness fairly well. That said, while I recognize they are good, their melodic hardcore style just isn’t what gets me arouses me these days. - Ben
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The Shuteye Train “Rock and Roll With The...” Band Site | |
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A traditional rockabilly trio from Kent, Ohio that doesn’t seem to be in business anymore. Thirteen tracks with a handful of covers, including the usual suspects such as “Twenty Flight Rock” and “Blitzkrieg Bop,” along with some less typical fare. Their songs are played proficiently and are often pretty enjoyable. There seems to be a modern, wanky bluesy influence to some of them, as well as some straight-up country. My favorite track is the spaghetti western instrumental “It Is What It Is” which also sums up this band nicely. - Lisa
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Los Skarnales “Pachuco Boogie Sound System” Band Site | |
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This Texas Ska band starts off with one of those long, drawn out intro tracks that I dislike. But luckily, what comes after is a quite enjoyable blend of Ska, traditional Mexican music, punk and even hip-hop. Most of the songs are in Spanish and the music maintains coherence while being quite eclectic. A couple of their songs are traditional (“Mariquita” and “Juarez”), and Roger Miret appears on one track, but don’t worry, he doesn’t make it a Disaster (ha, ha get it?). Over all the CD has a fun mood that would definitely entice me to see them live. –Ben
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Social Combat “Rock N Roll Rebels” Bronco Bullfrog | |
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First off, nice cover on this one, a traditional tattoo design probably done by one of their friends. Overall this CD reminds me of The Business: its all well produced, melodic, mid tempo Oi! Lyrics are about 50/50 English and Spanish. There’s a pretty cool homage to a dog, possibly a German Shepherd? A song about alcohol, tattoos and Oi!, a winning combination. What can I say, this is very good and even has a Motorhead cover! - Jeff Lamm
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Sons of Cyrus “Monkey Business: Singles & Rarities” Dead Beat Records | |
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I really like this band: this is pure rock and roll. Twenty tracks, which are mostly all originals except for a few covers, including the Isley Brothers and Rolling Stones. These guys are from Stockholm, Sweden and have been around since the 90’s, although they have a slight 70’s vintage garage sound. Fans of The Clone Defects will like these guys a lot. While I have already stated that I like them, I feel the need to repeat my fondness of them just so that you realize that this is a CD I would spend my hard earned dollars on in an honest effort to make myself cooler by owning something that really rocks. –Lisa
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SOS “A Guide to Better Living” 316 Productions | |
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Seventeen songs on this disc highlighting the “heavy melodic groove machine” that is SOS. This NYC outfit, which has a decade of shows under their collective belt, recruited drummer/engineer Travis Harrison for the production of this disc. Heavy on effects and classic hardcore/rock accoutrements, but lean on meat that I can sink my teeth into, the disc meanders from metal to punk to hardcore but never really reaches the promised land unless you like your manna in the guise of sports bar by day, rock club by night. The short-time track “Hopeless” stands out. -Bram Riddlebarger
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Space Cretins “Rocket Roll” Band Site | |
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It takes a lot to stand out in a world inundated with a proliferation of rock bands. The Space Cretins are a good band, but not cut-yer-balls-off-the comet-is-coming-to-save-us good. Standard rock-n-roll songwriting with some punk rock leanings & a lot of chorus repetition. Enjoyable if not memorable. –Ben
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Spector 45 “We Wanna Go!” Band Site | |
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Since we received this CD, the band has broken up and reformed as the Delcos. This disc is a great slice of greaser punk pie. They keep one foot on the 1950’s floorboards with the other foot heavy on the accelerator. The songs are catchy and fun, rather than being bogged down in the wifebeater-wearing, tough guy aspect of the genre. They do an Elvis cover, which had me rolling down the window to get fresh air, but I was enjoying the ride again with a charged-up version of Buddy Holly’s “Rave On.” The rest are all originals that keep the spirit of rock’n’roll alive and well. - Ben
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Speedswing Self-Titled CD Crazy Love Records | |
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Speedswing, out of Denmark, started out as a spin-off from Disturbance, then they kept adding horns. Their sound, which they call “Speedswing” (Speedswing. It’s a band, a CD, AND an entire genre of music!) is a mix of ska, swing, psychobilly and surf. The first track, “Night out with the Boys”, shows off some nice guitar work, and “Rock n Roll Island” makes good use of all the horns. “You Take Control” has a good bass line, and “Have More Fun” is the fastest track on the CD. There have been a few lineup changes since “Speedswing” came out – a new bass player, more horn players – hopefully they’ll come out with a full length CD soon. I’m going to play this at parties. It’s upbeat, fun to listen to, and will probably get some of my deadbeat friends to actually get up off the couch. - Carol High Hair
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Split Lip Rayfield “Should Have Seen It Coming” Bloodshot Records | |
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Some pretty striking vocal harmonies and melodies come from this extreme bluegrass band. Although they are known for their fast and furious approach, with the exception of a few numbers this album keeps the pacing pretty slow. Banjo, mandolin, guitar and tank fiddle join together along with hillbilly vocals to make a decent offering, but I do not feel it is their best. There are 16 tunes here, but not all reach the high water mark that they previously set for themselves. The production lacks character, and some of the lyrics seem a little weak. Still, I wouldn’t necessarily pass it by, as they have long been one of my favorites. Even a crappy Split Lip CD is surely a kick in the ass that you will enjoy. –Lisa
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The Sprague Brothers “Best of the Essbee CD’s Vol. 1" Band Site | |
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If seeing Chris “Sugarballs” Sprague’s darling face on the cover of this disc isn’t reason enough to pick this up then you may as well pick it up for the outstanding music that your ears will hear when you put this in the player. Old timin’ music that incorporates rock, country, folk, surf, bluegrass and rockabilly. Chris and his brother Frank put a new spin on old numbers and an old spin on new numbers, which keeps things fresh and alive. There are twenty tunes and you get an informative insert that tells you about each track. I really, really enjoy listening to this and I think you will too. I must admit my favorite is the cover of “Hippy Hippy Shake.” There is also a guest appearance by Sugarball’s tourmate, Deke Dickerson, on “Praying Mantis.” Get this...unless you are allergic to great music. –Lisa
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Frank Lee Sprague “Merseybeat” Band Site | |
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Frank Sprague has mastered the Mersey sound, and as a fan of this genre of music I couldn’t be more pleased to have this CD in my possession. Don’t know what Mersey is? Think late 50’s early 60’s Liverpool rock-n-roll a la The Beatles, The Hollies, Gerry and the Pacemakers, The Searchers, and The Undertakers. Although I’m not in love with every track on here, I am very impressed with the authenticity and reverence that comes through on each original track. There are two bonus tracks, which are the only covers on this whole album. I am amazed. -Lisa
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The Staggers “The Sights, The Sounds, The Fear and The Pain” Haunted Town Records | |
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High-energy rocknroll done right. Reminiscent of older Misfits mixed in with some psychobilly sensibility, this disc includes three videos: “Last Man on Earth”, “Warm Summer Day”, and “It Conquered the World”. Good, melodic lyrics throughout, the disc also includes a cool instrumental, “Last Great Western” and another tune, “Unicorn”, which takes the lyrics from a Shel Silverstein poem and puts them to some hi-test action. If you like B-movies, zombies, hot rod cars with flames, corn dogs and biker boots, this disc is probably up your alley. There’s a damn funny band photo on the inside traycard to boot as well as some call-to-arms solo acoustic work by singer Joe Blow at the end of the disc. -Bram Riddlebarger
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Stitch Hopeless & the Sea Legs “Stuffing Coffins Since 1977” Hairball 8 | |
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This is a tight, fun, band that kept surprising me song after song! Stitch and company got a great sound and aren’t afraid to mix it up. Genuine psycho without falling into the conventions that plague many other bands. The guitars are fuzz heavy without being overblown and I can actually discern the fretwork of these fine players! Plus you can hear the thump AND notes of the wild upright by Goredon the Cynic (rather than wasted upright sounding like rubber bands slapped on wet cardboard)! Stitch’s singing is a winner too. Somehow he’s guttural and melodic at the same time. The skins keep it cool with the right mix of “railroadin” and balls out rockin. Sure you got yer horror rockers “Trash Like Me” and “Dead Gray Flesh” that will get you grave stompin’ (sounding like some spooky 45 sides spittin out of some fucked up fifties nightmare) but ya also got traditional influenced “Bleed On Me” with some kick ass clean pickin’!!! And a Bruisers cover. Lots of different production angles, tones and sounds coming out of this band/album while staying true to many roots (from RAB to sing along punk) while keeping it psycho heavy. It never gets dull. It all comes together perfectly on “Can’t Wait to Get Back Home” that kicks ass and has a lightning guitar lick you can’t deny! Trust me you will want this song blastin outta yer car this summer! - Rocko
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The Stitches “8x12” Vinyl Dog Records | |
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This is a reissue of their 1995 release. Classic, snotty punk rock that that creeps into you like a staph infection. The singer sings so snotty in fact that he sounds more like a girl here than he does on later releases. I saw these guys play in Akron, Ohio a few years ago and it was one of the best punk rock shows I had seen in ages. This stuff is almost archetypal punk rock that is impossible not to like. A soundtrack to youthful fatalism venting itself in the most rousing way possible. Includes a cover of Shane McGowans’ “That Woman’s Got Me Drinking.” Essential punk rock that will once again challenge your preconceived notions concerning the lameness of Southern California. –Ben
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Stiv Bators “L.A. Confidential” Bomp Records | |
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You can’t be into punk rock, be from NE Ohio, and not be excited to receive a solo CD by Stiv Bators of the Dead Boys in the mail. I have to admit, I had never heard his solo work before, and this CD was the perfect remedy. It collects singles form between 1980-87, along with demos and alternate versions. The style is more of a mod-influenced power pop. Ten years ago I may have popped this back out and cleansed my palette with the Dead Boys “Young, Loud, and Snotty,” but now I find myself liking it a lot. It starts off with a cover of, appropriately enough, with a tune by Cleveland’s own British Invasion-inspired band from the 60’s, The Choir. “It’s Cold Outside” is an undeniably great song. There are also covers of “Story In Your Eyes” by the Moody Blues, “Have Love Will Travel” by Richard Berry & The Pharoahs, and a rehearsal tape version of “Neat Neat Neat” by the Damned featuring Brian James. There is also a cover of “Louie, Louie” done here as a drunken jam session with The Runaways and Jimmy Pursey of Sham 69. There are also plenty of great originals penned by Stiv, showing him to be as skilled at writing garage and pop songs as he was with raucous punk rock. - Ben
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The Stivs “Sweet Heartache and the Satisfaction” Boot To Head Records | |
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Fourteen cuts of pure punkrocknroll from Portland. That term gets thrown around a lot, but this band and album truly earns that description. Straight up no frills rock and roll with influences proudly worn on their sleeves, cranked out without aping their heroes. The reckless sounds of New York and Detroit 70’s era punk (and the more-gritty-less-pretty side of glam) are obvious, but The Stivs drive home their sound with influences from later rawk as well. The record starts with the call to “hear my commandments of rock/live by commandments of rock” as we hear the build up of what implies a stomping arena calling the Stivs to action. In a better world, The Stivs WOULD be playing to massive arenas, and filling the airwaves as well with swaggering anthems like “The Satisfaction” or “Gimme Love.” This band pulls off more great riffs and crunch in one song than most bands who currently fill arenas do on an entire record, and singer Rockwell’s delivery screams of desire, a hint of desperation, and take no prisoners drive. Produced by big name maestro Jack Endino (who wisely did not over-produce and keeps the edge intact), this is one of those albums that makes you realize this band must rock totally unhinged live. One of my favorite moments is when they actually slow things down (slightly) for the moody “Sweet Heartache (12 Months).” But then The Stivs hit full speed and dish out beautiful bruises on “We Are the Pack” and never let up for the last few cuts. – Rocko
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Straitjacket “Modern Thieves” TKO Records | |
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Floating pop melodies and snotty vocals atop a restless sea of bouncy guitars, Portland’s Straitjacket may have a modern production, but their music is firmly entrenched in the UK ’77 school of punk rock. Jacking into the electricity of past great such as The Clash, Stiff Little Fingers, and The Buzzcocks, they come to life with a familiar energy of their own. Well done. - Ben
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Street Brats “See You at the Bottom...” Full Breach | |
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Having seen these guys and liked them, I’m not real crazy with the direction they’ve taken with this album. I can’t help but think they’re waiting for something to break and make them more accessible to the mainstream. Is that wrong? I’m not in their band and can’t say definitively, but I can say that this wouldn’t have me shilling out cover price for this album, that’s for damn sure. Comes off as tough, but in a non-threatening sorta way. An album looking for a niche, to be sure. - Joe Pacak
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Strychnine “Born in a Bar” TKO Records | |
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These guys play fast hardcore punk with some metal woven into the tapestry of discontent. While most hardcore with metal tends to trade off urgency for an uneventful drudging heaviness, these guys thankfully play fast most of the time. It’s roughneck thrashcore with guttoral Oi-type vocals that I don’t care for too much. Interestingly, they do a cover of their Sonics’ namesake, and oddly it has less punch than the original. For me, this disc is just pleasant background music for tattoo shops. - Ben
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Surfin’ Criminals “Brenta Surf’N’Roll Music” Band Site | |
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This Italian instrumental surf band has a pretty classic sound and a festive delivery that is hard to resist, except maybe when covering two of the most famous and predictable instro tunes: Miserlou and Rumble. Their Miserlou sounds a bit sloppy as he goes for something close to the original and hits troubled waters. There are some other more obscure covers as well, and 4 originals. Even though there’s not a ton of originality here, it is a nice listen. - Ben
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The Suicide Drivers “There’s till Plenty of Room in my Car” Drivers@luuku.com | |
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I couldn’t find any info about this band anywhere. I think they may be from Finland. This disc has three songs. The first is terrible: slow and boring greaser rock with cheesy guitars and bad vocals. The next one is just a little better, and the third one isn’t too great either. I am not a fan. Pretty Awful. - Ben
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Szymanski Shettler Morris Self-titled CD Alive Records | |
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Three guys (drums, guitars, & keyboards) playing what some might call Avant-rock. It hits me as a pop-based garage meets analog electronica with some interesting moments nestled inside a commercial version of garage music. His singing reminds me of Anthony Keidas and Bono at times. Kinda like the Gorillaz too. It kills me with the amount of familiar things that I can’t just seem to put my finger on. I imagine this would give a reviewer at Rolling Stone a boner. Me, I’m only at half-mast. It is quite good, but seems too clean and controlled. In a weird way, its carefully measured flawlessness has left it lifelessly average. – Ben
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Those Poor Bastards “Songs of Desperation” Gravewax Records | |
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Next time you’re drinking alone, trying suffocate that aching emptiness inside, you may want to pop in Those Poor Bastards to accompany your misery. They play Gothic Country that conjures dustbowl images of a landscape rife with spiritual poverty and crossroad devils. The result comes across as a less hopeful Louvin Brothers after too many Nick Cave albums. It slowly drips with the heat of the Deep South, carrying with it the eerie sound of souls leaving bodies. All of the murder, longing, and anguish contained in these songs is nicely tempered with a subtle black humor, and I like it. - Ben
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Three Blue Teardrops “Rustbelt Trio” Band Site | |
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The first song on this disc made me want to rip my ears off with the chorus… a poor choice as the opening track. Fortunately, the second tune has a darker rockabilly vibe that I like much better. This is the first album since 1997 for a Chicago group who have actually been around since 1991, although I’ve never heard any of their previous output. I give them points for taking the time to pen all 13 of these tracks in a genre where most bands are content to go the tiresome rockabilly jukebox route. These guys are good musicians who aren’t trying to carbon copy traditional rockabilly, but rather use it as a base of operations. While the results can be pretty good, they can often be a little lackluster as well. Then again, I’ve been subjected to way more rockabilly bands than the average person should be, so it takes a little more to get me there. The guitarist has a nice tone and plays very well, but a few of the tracks are a little sleepy, and some of the backing vocals made me wince. Still, a pretty respectable offering. – Ben
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Throbbin Urges Self-titled CD Band Site | |
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The first time I heard this I thought it was so lo-fi that it wasn’t even listenable, but something kept me listening against my better judgement…three times in a row. While the levels are clipping across the board, it still maintains an appeal and energy that you discern a little bit more each time through. Putting an album out like this in an age rife with studio overproduction and professional-sounding home computer recordings seems to be a direct “fuck you” to the homogeneity of the digital age. This is about as primitive and wild as a garage punk band could be. It sounds like it was recorded in the toxic sewers beneath a superfund site. Raw as my penis after spending an hour at grannybanger.com. -Ben
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Throw Rag “13 Ft. and Rising” Band Site | |
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This is the third album by Throw Rag and each one gets a bigger sound with better production. It kinda takes the sweat and filth out of the sound, which has in turn taken me some getting used to, as I am a fan of the more dirty, smelly sound these guys let off. But don’t get me wrong, this CD still sounds good. Appearances are made by Jello Biafra and Keith Morris, and Lemmy shows up on the Merle Haggard song “Tonight the Bottle Let Me Down.” They play a sleazy rock-n-roll which has been getting progressively less and less influenced by rockabilly and country, but is still pretty great as they veer more towards creepy punk rock. – Ben
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The Tombstones “Twang from the Grave” Saustex Media | |
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Back in the late 80’s/early 90’s the Tombstones were apparently a linchpin in the Atlanta roots punk underground scene. Now they have resurfaced in Austin, Texas, and re-issued an anthology of their old music. What’s good about this is the fact that the roots rollover into punk rock wasn’t yet so absolutely pervasive. They weren’t working in a vacuum of course, but the genre clichés weren’t yet so firmly entrenched, and this results in some fresh-sounding recordings that musically sometimes have a slight Gun Club feel. One of the songs here was actually recorded by the late Stiv Bators on “The Last Race.” There is a dark, anguished feel to the Tombstones, but not in a phony, horror flick sort of way. More like some southern gothic roots shining through. I like this quite a bit. - Ben
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Tommy and the Terrors “Unleash the Fury” TKO Records | |
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The first song on this reminded me of the Templars a bit, then the second one reminded me a little of the Mau Maus. While I wouldn’t draw a straight line from those bands to this one, it does seem like they are bridging Street Punk and Hardcore with more than a little Boston flavor in the mix. Definitely listenable and better than average. - Ben
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Tommy Gutless “Death, Honor, or Glory Bound!” Street Anthem Records | |
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Out of Pittsburgh, Tommy Gutless features Thom from Philadelphia Experiment and Aaron Brown on drums, who is better known for fronting the Rockabilly band, The Helldivers. Here they help provide melodic anthems of the Street Punk variety, spearheaded by Bryan McQuaid, who sings a lot like Mike McColgan on early Dropkick Murphys records. They also conjure up thoughts of the Ducky Boys, Brassknuckle Boys, the Bruisers, and the blue-collar politics of the Hudson Falcons. Whereas you come across a lot of Street Punk and Oi bands grunting out hollow lyrics between beers, Tommy Gutless comes off as more sincere and heartfelt, and that’s something we can always use more of. - Ben
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Tractor Sex Fatality “Peel and Eat” Dead Beat Records | |
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This is dark and intense noise rock that lashes at your lobes like a cybernetic slave master with a few screws loose. While I like the claustrophobic and unrelentingly oppressive sound, I do think the singer gets a bit too histrionic at times. Sounding like the Jesus Lizard yelping mad from electric shock. The production is like a jagged sore pulsing and oozing. It’s a particularly demented album that grows on me with each listen, especially when I’m drunk. –Ben
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The Trailerpark Tornados “Mata Al Contacto” Big Neck Records | |
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Mixing lo-fi garage-punk with a predominant and aggressive Confederacy of Scum sound (despite being from Buffalo, NY), the Trailerpark Tornados reach new depths of sleazy and raw, but I’m just not feeling it. It’s not bad. I wouldn’t complain if somebody put them on the stereo, but it wouldn’t be my first choice. - Ben
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The Tremors “Uranium Rock EP” Band Site | |
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A nice little sample of six rockabilly tracks to give you a taste of this North Carolina three-piece. I think you will like what you taste. They aren’t doing anything groundbreaking or earth shattering, but if what you like is solid, well-executed music by guys having fun then pick this up. The disc is supposed to glow in the dark...I am going to test it out tonight just to see how radioactive it really is! – Lisa
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TubeStone “Aligretosurfati” Band Site | |
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This is exceptional. In a genre where few bands suck, but few stand out, this Slovenian band is quite amazing. I listened to this at work on headphones and I just about melted into my chair. It is instrumental surf music that purports to be experimental, but don’t let that tagline put you off. There are exotic melodies that don’t sound trite and cliché, and the guitar tone is so pure it’s like angels kissing your ears. It’s lyrical without words. If you like your surf with nuance, atmosphere, and creativity, you’ll want to check this out. – Ben
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Turpentine Brothers “We Don’t Care About Your Good Times” Alive Records | |
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This band contains members of Kings of Nuthin’ and Mr. Airplane Man playing soulful garage rock. Perhaps the most amazing thing about this band is the dominant organ sound that manages not to sound overbearing or garish. Instead it weaves into the fabric of the songs, giving fullness and character to the band. There are a couple flat out rockers on this, with echoed vocals and masochistic guitars being beat into the Oblivians back catalog (albeit with much cleaner production), and there are also slower numbers that bring the Reigning Sound to mind. None of their influences are too overt for the most part, though, and I am liking this a lot. With each listen the experience gets a little bit richer. This is the kind of album you can really connect to wearing headphones while walking through town on a fall afternoon, or as you’re driving alone late at night. There is an instrumental on here that is easily one of my top 5 instros of all time. – Ben
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TV Set “Regret Is For Humans” Band Site | |
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A mixture of 80’s Pop and dark New Wave, TV Set have apparently been doing this for nearly 20 years, and are now a solo act. He’s not a great singer, but vocals are pretty straightforward and honest. He kind of sounds like Fred from the B-52’s at times. The music and lyrics are weird and funny in an oddball kind of way. I like the more upbeat songs best. It would be fun to dance to. I like it. - Lisa
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TVH “Night Raid On Lisbon Street” Flapping Jet Records | |
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TVH is the new band fronted by Johnny Strike from Crime and featuring Jimmy from Crucifix. They do one Crime song (“Hot Wire My Heart”), as well as covers of Sonic Youth and Robert Johnson. This is pretty rockin’ stuff that churns along slowly with a coolness that isn’t self-conscious or affected. It has a driving pulse pumping dirty blood through a broken body with nothing left to prove. The songs are slow, but will ensnare you with a plodding perfection. Like a soundtrack for the corner bar you hit after giving plasma, or driving home to your wife after a day at the track instead of work. Excellent music that I’ll be returning to. - Ben
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Union Avenue “Teenage Kicks” CD EP Raucous records | |
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Starting off with one of the weirdest, coolest covers I’ve ever heard, Union Avenue throws a leg out with the Undertones’ “Teenage Kicks” mixed up with “Ring of Fire” and delivered much like Johnny Cash. The next track offers further temptation with the Cash-ification of “Sympathy For The Devil” by the Stones. Quite entertaining. The third and final song is “Feltham Prison Blues,” which is a perversion of the obvious Cash song. A fun CD that shows the right way to do covers... strangely. - Ben
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The Urgencies “Desolation Chic” Bubble Empire Recordings | |
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Featuring members of Teen Cool, The Materialistics, and The Ends, The Urgencies wear their influences on their sleeve and capably play music in the vein of the New York Dolls, Plimsouls, D Generation, et al. Pretty strong mid-tempo glamrock/power pop, but for some reason it just isn’t exciting me as much as it should. Maybe I need a few more listens under my belt. - Ben
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Valient Thorr “Total Universe Man” Band Site | |
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Imagine the worst possible Al Sharpton impersonation to start things off before launching into a parody/homage to Iron Maiden metal and butt rock. The singer ranges from pretty normal to the voice that people do when they are making fun of metal. Seriously, he is obviously trying to be bad, and it works: it is so bad I couldn’t listen to the entire disc. The guitar player is good, but then so were Eddie Van Halen and Yngvie Malmsteen, whom I wish were gay so they couldn’t procreate and leave more of their ilk. The disc is funny for a very short period of time, then becomes just annoying. - Ben
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Vincent Razorbacks Self-titled CD Raucous Records | |
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I was expecting something more rockabilly, but this actually is cranked-up Southern rock’n’roll with some crunchy over-driven guitars and vocals that kind of remind me of Megadeth at times. Don’t get me wrong, there are elements of rockabilly and blues, but they get drowned in a fifth of Wild Turkey then set on fire. I thought I wasn’t gonna like this because so many bands go down this path and end up sucking ass, but these guys appear to be one of the exceptions. They’ve tweaked the sound just enough to avoid being dixie-fried dog shit. I think it is the unexpected 80’s metal riffs thrown in that does it for me. Go figure. This is a winner. - Ben
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The Vincent Razorbacks Self-titled CD Raucous Records | |
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The Razorbacks are fronted & illuminated by the UK’s own Vince Ray, who—to my mind—is THE Lowbrow Artiste Nonpareil (Sorry COOP). For eyes not yet infected by His Mastery, Ray’s art can be described as the voudon candlelit synthesis of Old Skool fetishist John Willie and Sailor Jerry w/a psycho’ soundtrack...I woulda wanted a copy then even if the tunes were nothing special but amazingly(?) this cd lives up to its artwork—inc. that tender scene of necrophilia on the inner flap. There is the straight ahead psycho’ of the closer “Red Hot Rod” & the psychoSCHWING of “Johnny Razor”, but the rest transcends trite labels. The only cover toon, for example, is of Lord Sutch’s “Jack The Ripper”, but it’s creatively infused w/a “Peter Gunn” beat. I’m thinkin now of just the straight ahead RAWK of “Surfin DOA”, “Sweet Unlucky 13”, “Rocket from Japan”....Hey! Remember the first time you ever heard “Ace of Spades” and didn’t care if it was metal or punk or whatfreakinever—just knew it KICKED ASS? That’s how this whole cd is—not that The Vincent Razorbacks sound like Motörhead, just that what they’re doing is also...bloody essential.—The joey Zone
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Volumen “Science Faction” Band Site | |
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I was having a hard time figuring out how to describe this Montana band, then I saw that their website mentioned them playing Nerd Rock. That actually fits pretty well. It’s like they took various elements of Pop, Indie and Rock, tossed them into a cement mixer, then used them as a foundation to build their bunker of the bizarre. While I am not completely enthralled by their music, it does have some really good moments. My problem is that, though it experiments a bit and does some interesting things, often it gets too light and floats right out of consciousness. It’s not trance-inducing, which I like, but rather the Indie Rock component didn’t get mashed up enough in the mixer. I like it better when their barbed edges show through, but this doesn’t happen enough for my tastes. - Ben
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The Vultures Self-Titled CD Big Muddy Records | |
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This St. Louis rockabilly-surf party band sets loose a handful of originals along with entertaining covers of The Sonics’ “Strychnine,” Tommy James and the Shondells’ “Hanky Panky,” The Misfits “Attitude,” and “Let’s Have a Party,” written by Jessie Mae Robinson but popularized by Elvis and Wanda Jackson. There is trade-off between male and female vocals as well as some instrumentals. Something about this is so loose and fun that it’s hard to resist. It’ll be staying in my collection. - Ben
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The Wages of Sin “Custom of the Sea” Band Site | |
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If you like salty sea air, accordion, mandolin, and fiddle, you will love this band. One listen and you are transported off to the lower deck of a pirate ship, stomping your foot, watching the wenches dance around, drinking rum and eating roast seagull with your bare hands. They have a lot of Celtic and bluegrass influence, and boast one of my favorite instruments: the musical saw! That makes them aces in my book. There are 12 original tracks plus 2 covers, all of which are excellent. –Lisa
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The Washouts “I Was A Teenage Washout!” Golly Gee Records | |
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There are 30 songs on here by Rip Carson’s old band from when he was friggin’ 11 YEARS OLD. I know you are probably thinking it’s cute that an 11 year-old had a band, and that this has to be a novelty release. The simple truth, though, is that this CD rocks! It makes me physically sick, it rocks so much. When I was 11, I was playing Asteroids on my Atari and making robots out of Legos. He, on the other hand, was playing outstanding garage punk that blows the crap out of most of the adults out there trying to grasp at this type of youthful energy. Life isn’t fair. Whereas many young bands may have this level of energy and enthusiasm, they rarely if ever pair it with ripping guitar riffs of this caliber. To be honest, this disc actually covers the period from when he was 11-16 years old, and his vocals have a bizarre pre-pubescent, helium-filled quality as he tries his best to wail with punk rock abandon. It is actually an oddly cool sound once you get used to it. While there’s a good amount of the Rockabilly style that Rip would later be known for, this also has a lot of dirty guitars pounding out glorious power chords. Most songs are originals with only a handful of covers by The Misfits, Sonics, and The Fall-outs. Very worth picking up. - Ben
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Whiskey Daredevils “Greatest Hits” Band Site | |
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Made up from the remaining Cowslingers after Bobby Latina left the band, the Whiskey Daredevils have replaced him with two guitar players (Bob Lanphier and Dave Bowling), and a came out with a debut album of their “Greatest Hits.” Perhaps my favorite thing about this band (and the Cowslingers) is their sarcastic sense of humor. Here they mock the phony hillbilly hipster look with their song “Ironic Trucker Hat” and “Jesus Walks Beside Me” is a barroom singalong about taking our Lord and Savior on a gambling trip to Sin City. There is also a bluesy cover of the Dead Kennedys “Let’s Lynch the Landlord,” and in general the music is an amped-up rootsy rock’n’roll located on the outskirts of cowpunk country. The best songs are the speedy, rough-shod numbers like “AMC Hornet,” “Mickey’s Bigmouth,” and “Greasy Box.” I may actually like this better than the Cowslingers. Good stuff that does something with the genre other than merely fleshing out a blueprint. - Ben
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Wilma Strippers 4-song CDEP Band Site | |
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Here is an Italian garage rock band with a somewhat unusual take on the genre. There are kind of post-punk vocals, light and dissonant guitar hooks, shimmering reverb delay, and an overall quirkiness. Pretty interesting. Would want to hear more. - Ben
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Wilson Gil & the Willful Sinners “American Banned” Tinnitus Records | |
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Some press materials that came with this cd describe it as “neo goth crooning” and “serial killer suave.” I don’t exactly hear that, but that is a good thing in this case. Because what I hear is a more visceral, gritty American roots rock rather than something quite so stylized and easily pigeonholed. There is definitely a dark undercurrent to the songs and the tales they weave… tales of “Drink”, “Bad Reputation”, and “My Town,” but it’s more of a twilight kind of dark – right around the time a day’s work is done and a man needs to belly up to the bar. Musically they remind me a little of the late great Go To Blazes with a John Doe meets Richard Thompson singer. Wilson definitely knows how to write and deliver a witty lyric and set a mood with the band. Tales of struggle, want, defeat, and some sort of attempt at redemption are crafted expertly along with the Willful Sinners’ hard-edged uniquely American roots rock crunch, shred, and twang. Every blue collar sonofabitch out there needs to “Get A Song” and Wilson gives you one to believe in. – Rocko
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The X-Possibles Self-Titled CD Band Site | |
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I actually had a previous CD-R by this New York band with many of the same songs on it. Here they are professionally re-recorded and fuller, but I think I liked the CD-R a little better. While the old songs redone here are ironed-out a bit more, some weeded out, and great new ones added, the guitars now have a kind bland, chunky, studio-produced sound. That aside, this is mostly really good female-fronted punk rock with catchy and unique songs, lots of urgency and bite, and a varied delivery (from pop punk to mostly hardcore). Tibby-X has a great razored vocal articulation and growl that breaks free of the Distillers/Hole mold. She can also smooth it out a bit on the slower tracks, while retaining their essential raspiness. The songs are well arranged too. I think my only hesitation is the flat production, which doesn’t ruin things, but can make a good band blend into the pack. - Ben
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The Yellow Belts Self-titled CD Band Site | |
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From Lexington, Kentucky, comes this dose of dirty rock’n’roll slathered in barbecue sauce and sweaty riffs. It’s the kind of big southern rock sound you’d expect from members of Nine Pound Hammer, with some classic snottiness and punkish verve tossed into the stew. I’d go see these guys for sure if they ever came through. This is just a little 6-song EP and that’s probably for the best, as I don’t think I could handle much more freakin’ rock before my face falls off. Check these guys out for sure. - Lisa
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Zombina and the Skeletones “Mondo Zombina” EP Band Site | |
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Whee!!! I am in LOVE with this band! Hailing from Liverpool, U.K. this is horror punk/surf/new wave/rock-n-roll at it’s absolute best. Exceptionally original, fun, upbeat and skilled on all sorts on instruments, this band gets two thumbs way up in my opinion. Their influences are sited as the Ramones, Blondie, the Cramps, the B-52’s, the Damned, Tom Waits, and the Groovie Ghoulies. You get 5 tracks here, and it’s just not enough. I am sad they are from overseas and my chances of seeing them are little to none. Boo. A trip to England may just be what I need. I think “Counting On Your Suicide” may be the best song in the entire world. OMG, I just looked on their myspace page and they said they have a 2007 USA tour!!!!! I am a geek. - Lisa
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VARIOUS ARTISTS COMPILATIONS | |
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Despite the title and no less than three Misfits covers, this isn’t all horror-punk stuff (and it’s on CD not LP). Sure, Blasé Debris is included and fits that description, but I have to admit I like their energetic contributions here more than their full-length CD. There are four bands on this disc, each donated four exclusive songs. Casket Architects sound a lot like the experimental noise punk of The Locust, with a prog. metal vibe and screamed throaty vocals. Dead Unicorn does a slow, down-tuned and sludgy hard rock that sometimes sounds like a record at the wrong RPM. Plastic Jesus plays pretty East Coast punk rock that doesn’t necessarily sound like the Ducky Boys, Hudson Falcons or DKM, but fits in with that scene. Especially with a cover of a 1930’s workers’ rights anthem, “Joe Hill.” - Ben
Here we have a nice little compilation of Oi music that’s reminds me why I liked this type of music in the first place. I’m so sick of these bands doing the same tired, worn out “boots and braces, we are patriots, oi oi!” thing that it is refreshing to hear a CD full of bands that aren’t tracking up that same area of carpet. Upbeat with hooks that never get in the way of the impact, for the most part this compilation rarely misses in its offerings of well-crafted music that remains aggressive without being ham-fisted and simple-minded. Some of the best tracks are by the Templars, Crashed Out, and No Man’s Land. There are 16 songs total for you to enjoy. – Lisa
The second instalment to Backstreets of American Oi, this 2 CD set announces “... American Oi and Streetpunk” drawing for once and for all a line between these much intermingled genres. Just find that line first and then let me know where the fuck it is and we’ll all be good. I’m counting about 53 bands on this mother, 2 disc’s baybee, oh yeah. I liked disc 2 better overall, but having said that I’d say about 75% of the bands on here are pretty damn good, with some real standout material. This also features the worst song I have ever fucking heard. Ever. Period. Whose good on this? Who is the worst band ever? Being as this is well worth the cover price, buy it and come to your own conclusions. After all I’m not exactly Gene Siskel re-incarnate, motherfuckers. - Joe Pacak
This CD reminds me of a beer sampler from Holland. Some songs are smooth and go down easy, others make you run for the shitter. All of these bands are from south Holland, and all of them definitely fit into the Oi!/Streetpunk mold. Some have a very distinctive sound, while others’ influences are obvious. As you could imagine, there are some heavy Dropkick Murphys influences, 4 Skins, Blitz, Motorhead - all the giants of the genre. A couple of the bands manage to stand out amongst the beer soaked Fred Perry wearin’ throng, which isn’t easy. Song lyrics are about the usual stresses of a Dutch skin’s life: fighting, drinking beer, watching football matches, drinking some more beer, some more fighting, backing up your friends in a fight......Overall I would say this CD is very good, and delivers exactly what is promised. The perfect loud compliment to a case of Oranjboom. - Jeff Lamm
I don’t have any information on this record label or have any idea who any of the bands are on this 14-track disc. The CD serves a mix of hardcore, Ska, Rockabilly, Spaghetti Western and D is pretty enjoyable. The record label website doesn’t work and if they sent a promo kit along with the disc, I can’t find it anywhere. From what I can find on the internet the label is from El Paso, TX. –Lisa
This is a compilation of bands that have played at what must be a great Seattle punk rock club, and it is packed solid with great bands - 32 of them issuing mostly previously unreleased songs. The only band on here who hasn’t played at the Funhouse is the Freak Outs, because they are 15 and their parents won’t let them play in a bar. The music here is predominantly garage and sleazy trash punk… my kind of stuff. Some excellent bands included: Fe Fi Fo Fums, Primate 5, Trashies, Black Horse, Pulses, Freak Outs, Mexican Blackbirds, Charming Snakes, Cripples, Invisible Eyes, Ape City R&B, Steaming Wold Penis, and the Earaches. This is one of the better comps I’ve ever heard in a while, & one that fans of garage-punk will want to grab up. - Ben
Before I got this comp I had never heard any of these bands, so I was expecting something pretty terrible. How many good unknown bands can one city host? Apparently, Philly hosts a ton. This is a great compilation of garage and punk bands, ranging from rootsy sounds, to Oldies pop, to 60’s psychedelic weirdness, to near hardcore, and more. Standouts by Thee Minks, Toothless George & His One Man Band, Jukebox Zeros, Bad Penny, The Chance, and the The Blow Goes. A surprisingly solid CD. - Ben
This CD is the product of a French photographer who went to the U.S. in the 70’s and ended up becoming friends with the Stooges. In fact, the Stooges start this disc off with a couple versions of “I Got A Right” and “Gimme Some Skin.” “Rock Action” is also added as a bonus track at the end of the CD. Elsewhere on the disc are tracks by the sax-infused proto-glam rockers the Max Lazer Band, the stupid misogyny of “Beat Her With a Rake” by The Weasels, the classic punk rock and Rip Offs precursor The Controllers, and the bizarre experimentalism of Nu Americans and The Attitude (who have Little Richard playing keyboards on a cover of “Hounddog”). A lot of this exceptionally good, while some of it strikes some pretty low ground. If you don’t have “I Got A Right” on anything else, and you don’t own any Controllers (shame!), I’d recommend picking this up. You’ll likely find something else to like on this as well. - Ben
As with most compilations you get a little bit of good, a little bit of bad and a lot of mediocre. This disc is no exception. There are some stand out artists like Kathy X, The Tazmanian Devils, and The Tony Montanas. I guess I should mention that this is a European Psychobilly compilation more geared towards the metal/goth aspects of psycho. Not a bad comp if you are looking for some new bands to check out in the psycho scene from overseas. –Lisa
After Johnny Cash passed away there have been numerous CD comps released in his memory. I enjoy reviewing them because I like seeing how other artists interpret and make the songs their own. This compilation is even cooler because it’s an international collection. There are 29 tracks that cover all the great hits of Cash, plus songs not originally done the man in black, such as “Hurt.” Bands included on this disc are Emscherkurve 77, Banner of Thugs, Riot Company, Social Combat and more bands along the same street rock/punk vein. Not a bad listen. – Lisa
Not so much on the streetpunk tip here, mostly the classic mid ‘80’s type of Oi that had kids from pole to pole beating the fuck out of any and everyone not down with wife beaters and a #1 crop. A nice throwback to the way Oi was when it first started rearing its ugly clipper-scarred head on the international stage. This has the sound of the later Link comps: hard, a little punky, with at least a band or so who were cobbled together solely for their appearance on whichever comp needed the filler at the time. Still better than what we’re making in the states these days. Pretty solid. - Joe Pacak
Things start off with a great track by Zombina & The Skeletones, followed by some fuzzed-out instro-mentality by the Ghastly Ones. Then comes the horror-themed garage rock of the Demon Seeds and the Young Werewolves. Other highlights includes the Butchers hacking out a great trashy rocker, the Crimson Ghosts doing a surf version of the Misfits “Astro Zombies,” the punchy junk rock of Spider Cider, the all-girl surf punk of Ghouls Night Out, the weird zombie rock from the Eerie Von, and the trademark horror-surf of Gein & The Graverobbers. Lots of chewy goodness inside this bit of ear candy. - Ben
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7" Records | |
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I saw The Answer Lies in Las Cruces back in June. I was absolutely parched, which caused me to drink too much El Presidente brandy and black out, lose dignity and coordination, then finally pass out. It wasn’t my finest hour, and I think one of these guys was responsible for the sharpie penis on my forehead, which I discovered the next morning in the mirror of a rest stop bathroom in Texas. As I stared at the cartoon cock scribbled on the throbbing veins of my aching head, I was forced to take stock of my life and seek a way out of the spiritual cul-de-sac that I’ve journeyed down for 31 years. This magic marker member was a blessing in disguise, and since that day I’ve found solace in a lifestyle of temperance and quiet contemplation as a member of the modern Mormon Church. But I digress. The Answer Lies throw down a 3-song blast of hardcore punk rife with tension and rancor. Good stuff. I was much less impressed by ten Seconds to Liftoff. Their first cut is a really long, bad rock song about listening to rock songs. Their second song carries on the same theme, this time about playing the rock songs, and it’s a little better, but I’m still not asking for (Ten) seconds. - Ben
I’ve seen these guys twice and didn’t care for them, but oddly enough, I really like their recordings, and this one is no exception. It’s dark, schizo-frantic garage punk racket. The A-side is intense and convulsive, while side B is brooding and explosive in a great way I’ve not really heard before. High, high marks for this one. Get it. – Ben
Fast, charged-up rock’n’roll played sleazy and (obviously) cocaine-fueled. Puts me in the mind of the Candy Snatchers. With songs like “Girl to Fuck” and “She’s a Slut,” they obviously aren’t pandering to the female crowd. - Ben
This is a female-fronted, keyboard-driven New Wave band featuring an ex-member of Sweet J.A.P., whom I really liked. The songs are pretty catchy and her voice is good, but some key ingredient is missing for me… some sort of edge or endearing eccentricity. Not bad, though. - Ben
The pissed-off political garage rock of the title cut is not something you come every everyday. Fans of the big Dubya might feel a little squirt of indignation in their tighty whiteys once they see the cover art depicting a bare-assed president squatting on the globe and pinching out A-bombs while “Dick” Cheney hold the toilet paper with “U.S. Constitution” and “Kyoto” written on it. Anyway, this is the first I’ve heard the band and their music is pretty good. Side B is the virtually instrumental “Too Hot To Taste,” which is just fuzzed-out fun. - Ben
These guys have come a long way since they were spikey-haired kids that I used to see at the Mantis in Kent, Ohio. When they sing lines like “you won’t find hope beneath the neon lights,” it is clear that they’ve moved beyond the stereotypical teenage punk sloganeering. Their sound has evolved and matured into a decent Street Punk/Oi band accurately described on the back of the jacket as being spiritually akin to The Bruisers, Hudson Falcons, and Ducky Boys. Here they show that they can go toe-to-steel-capped-toe with many of their upstart peers, and maybe a step or two beyond many of them. - Ben
I put this record on and was knocked on my ass. These guys have one of the scariest, insane punk rock sounds going. Live, I thought they were the soundtrack to a multiple stabbing, and this comes close to capturing that feel on the two cuts that make up Side A. Side B is one instrumental track that is good, sloppy, churning, dark, ominous noise-punk. Worth its weight in busted gold teeth. - Ben
These guys are from Finland and have apparently been around since 1980. They A-side is guitar-driven rock with a lot of solos courtesy of an ex-Flaming Sideburns guitarist. It is good, but doesn’t really demand my love. Side B is the more interesting cut, rolling out with a churning momentum reminiscent of the Stooges. This one I really like. - Ben
The Canucks play anthemic street punk with melody and some rock’n’roll panache that reminds me of Stiff Little Fingers and the GC5. There is come strong songwriting here with socio-political lyrics on the A-side, and some more introspective lyrics on the B-side. Both are done tastefully, and the music is top notch for this genre. - Ben
Raw indeed! From London via a Norwegian label, one guy is from Finland, one is from Spain, and one of them is also in the band Black Time. This is extremely trashy, lo-fi garage with hint of rockabilly and blues punk. Fuck the limp, well-mannered shit - this is a thorough rogering of your prudish record collection. It’ll leave you feeling dirty, but well-satisfied. - Ben
These Brooklynites may be lumped in with the Psychobilly crowd, but they also come across with a garage feel and the Psychobilly aspect is more in line with the early British stuff. This is a surprisingly good listen that will tread easily upon those with wary ears. - Ben
I have a big stack of Mutants 7"s and they are among my favorite records to play. This one is a nice addition to the rotation. You get more of the Film Noir-sploitation soundtrack vibe with bongos, James Bond guitars, organs, Latin beats, saxophone, and even a flamenco breakdown. The perfect complement to a vodka tonic in your grandpa’s basement bar. My only complaint is that I don’t like songs with women screaming in them, but what do you expect from “drunken outtakes?” - Ben
There are four bands from different countries (Belgium, Norway, Luxemborg, and Germany) covering songs by the Cosmic Psychos, whom I’ve never heard before. However, these songs do stand on their own without prior knowledge being necessary. Most of it is energetic punk rock’n’roll by the Mormones, Bad Preachers, Superhelicopter LTD. The Sloggy cut is a weird, drug-addled deconstruction with female vocals. Not bad. - Ben
The four bands on here all play a sort of girl-group/pop/punk rock’n’roll. Bands are The Boonaraaaas, Elvis McMann, The Unlovables, and the Bazooka Boppers. Nothing here really scorched my eyebrows off. The cover is taken from the sexploitation film from 1976 entitled “Hustler Squad,” depicting a large-breasted woman with a machine gun. Yes, my brain is crammed full of useless information. Hell, I even have a BA in English and Psychology. - Ben
The title cut is awesome: a perfect example of the band at their best. It is catchy singalong punk, but sprinkled with a sort mysterious weirdness that makes it strangely trance-inducing and otherworldly. I actually wish it was a little longer, and I hate long songs. The B-side “Breaking Out” is more pop and less magically weird, but not bad. - Ben
These guys have an extremely tense, noisy, and halting delivery to their songs that can border on annoying if you haven’t sufficiently braced yourself first. It’s a sort of musical abattoir where melody gets ground up and spit out. That’s not always a bad thing, though, if you are in the mood for sonic abuse. - Ben
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Book Reviews | |
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Barney’s Crew By Sean Carswell Gorsky Press This is a completely engaging book of short stories, and the third such collection by Sean Carswell issued forth by Gorsky Press. Sean’s writing style is deceptively simple as he wrings a subtle brilliance and depth out of engrossing, easy-to-read stories penned with a light, conversational tone. His characters range from construction workers and hitchhiking college girls to working-class kids and expatriate fugitives. All are more than just tools of the author used to make a point or propel a narrative. Instead, they are given a depth and complexity that allows you to easily connect and empathize with them. I found myself so interested that I read this entire 237-page book in two days. The tales here explore such things as the comical and cathartic actions of a construction crew fed up with annoying car commercials on the radio, the tension and misunderstandings between a fine art photographer visiting his blue-collar family and going to hog dog field trials in rural Florida, lessons of life taught by neighborhood bullies, and a prophetic surfer foretelling ascension of magical sea turtles in Costa Rica. Carswell gleans insights and just as often invokes confusion, since life is never fits well within a logical paradigm. The stories here carry a lasting impact without succumbing to the temptation to be grandiose or trite. It is not the dense sort of writing that strikes elegant, quotable lines like Oscar Wilde, or that embodies a post-structuralist philosophy of language. Rather, Carswell employs the more accessible vernacular of the everyman to achieve a transcendent aesthetic with the overall story. He has finely honed his ability to do this, and makes it seem easy. The writing never gets in the way of the characters, and the reader comes away from the page feeling enriched and rewarded. - Ben
Xtra Tuf, written by Moe Bowstern, is a zine about commercial fishing, particularly Alaskan fishing, for which Bowstern has firsthand experience as a deckhand over the last 15 years. Issue number 5, The Strike Issue, is a comprehensive journal, published by Microcosm Publishing, which takes a look at several strikes or “stand downs” in salmon and crab fishing by the fisherman in Kodiak, Alaska as well as surrounding communities. Fisherman are a loosely organized bunch, very independent by nature and necessity, and they are competing against increasing drops in fish prices caused by the highly organized Canneries (owned by big business in Japan, the US, Chile, and other world markets), farm-raised fish, big government and Mother Nature herself. The journal is divided into sections. Some are documentary looks at various strikes, particularly the Salmon Strike of 1997 and 2002 and the Tanner Crab Strike of 2005, and some are first person accounts of fisherman that took part in the strikes as union members or scabs. Fisher-Poems and songs are interspersed throughout. I liked this journal. Bowstern writes well and, while siding with the fisherman and their struggles to, ahem, stay afloat, doesn’t flinch from taking an impartial look at the situation. It’s informative to say the least. If you want to take a look into commercial fishing in Alaska, perhaps not a comprehensive one (though past and future issues of Xtra Tuf promise more), pick up a copy of Issue No. 5. These salty old salmon seaman are the real deal and Bowstern has more than enough experience on the decks and with the strikes to know her stuff. Highly recommended for vanguard warriors of the WTO sort. Fine letterpressing by Third Termite (thirdtermite@aol.com) and illustrations by the author, Mirabai Scholz, and various others provide a handsome package to the book and really help make the reading a pleasure for the eyes as well as the mind. This book is FREE to Commercial Fishing Women as well as prisoners or can be purchased by those lucky or unlucky enough to be men, free, or non-fishing women at www.microcosmpublishing.com. Moe Bowstern can be reached by message in a bottle or at Xtra Tuf, PO Box 6834, Portland, OR 97228. -Bram Riddlebarger
This is another zine-culture-published-into-book-form offering from Microcosm Publishing. On Subbing contains segments, as well as an introduction, a few interludes, and an outro, from a zine that Dave Roche has been writing on his years of subbing in special education classes in and around Portland, Oregon. This was a hard book to get through. Not necessarily because the subject matter failed to elicit only a faint interest, but more from a barrage, page after page, of a combination of unclear, poorly edited writing on Mr. Roche’s part and just an unacceptable number of typographic and punctuation errors on the part of the publisher and/or editor that constantly interrupted what little flow there was to the disjointed and diary-like paragraph length entries that make up the bulk of the text. The basic premise of On Subbing is that Dave is a punk/DIY/straightedge guy that moves from L.A. to Portland, has very little money and is looking for something larger in life. With no college degree, he looks to substitute teaching for a new challenge and way to inject some of his creed into the institutional system (he also has aspirations of someday becoming a high school math teacher) as well as a means of getting out of the service industry. However, without a teaching certificate, Dave is only qualified to sub in special education classes. The rest of the book details, in brief, small scenes of Dave’s life as a sub in various schools and levels of special ed. classes. R. Crumb-like illustrations by various artists are interspersed through the book to highlight some of the events, some of which are funny, some tragic, and some banal. Despite my many reservations about On Subbing, it does have an overall redeeming undercurrent. I kept reading even when I wanted to quit. Something kept me interested even when the story wasn’t interesting and certainly wasn’t building up to a glorious, literary climax. I think it’s because, as Dave admits, he’s just a regular guy going about his regular day, whether it be subbing for special education students, flipping hamburgers for the Man, or digging ditches for the hole it makes in the ground: it’s the Everyman theme. And, sometimes, that’s enough. - Bram Riddlebarger You can contact Dave at P.O. Box 12142, Portland, OR 97212 or via email at poodrow@hotmail.com. | |
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