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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 “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 | |
| 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. Le | |