The Quinlan Chronicles - Reviews by Rich Quinlan

THE WORKHORSE III (DRP Records www.drprecords.com)

Three battled tested, well traveled veterans of the Philly scene unite in one driving force of a band. The Workhorse III does not rewrite the book of rock n’ roll, but they plagiarize the best passages. Each of the twelve tracks here are boisterous, hook-laden anthems that beg to be played at the highest volume possible. Lisa Lyne Flynn’s voice drips with swagger, sounding both sexy and intimidating “Face in the Crowd” and “Slipping Away”, and this is matched by the churning riffs she delivers. Backing Flynn is her Lisa Christ Superstar band mate, Brian Blunker on bass and Eric Perfect on drums. (Perfect is an alumnus of both Limecell and the legendary Rancid Vat, two of my all-time Philly favorites) You cannot help be taken in by the energy of “Die Tonight” and the stomp of “Glory and the Sun”. Even when the band abstains from vocals as they do on “Workhorse I”, the intensity is palpable. The bruising force and guttural yelp of Flynn on “Infecting the Masses”, has the trio coming across as their namesake would imply; an agitated workhorse grinding out crusty, note-worthy rock with a punk aesthetic. When Flynn muses “what you wanted is not always what you get” on the closing “What You Wanted”, it is clear that she is speaking from well worn experience. Get this because it is great and these three deserve it.

NO REDEEMING SOCIAL VALUE - High In Holland (Live) (Dead City Records www.deadcityrecords.com)

The drunken madmen from Queens, NY decide to unleash their beer fueled mayhem upon the Dynamo Club in Eindhoven, and the result is a glorious testament to the power of this band. If you have never witnessed NRSV in a live setting, this disc throws you headlong into the pit and you finish this record bruised, sweaty, and exhausted. From the opening punch of “More Tattoos” to their scintillating cover of “Raining Blood”, this is a record that is an experience. Channeling the same fury that drives acts like Agnostic Front and Sick of It All, NRSV play with a viciousness that few can match, yet there is still a wasted grin on their collective faces as they dismantle you on “Pussy Pussy Pussy” (“We eat pussy every day/Why do we eat pussy?/Because we’re not gay”-Awesome!!), the hilarious “Your Boyfriend’s a Guido”, and “Drunk at the Youth of Today Reunion”. The last one sounds like something out of the Seth Putnam school of song titles, and if you do not find it funny, do some research so you get the joke. If you still do not find it funny, just stop reading this. The good times hit their apex on the ferocious “Beer=Fun” and the brilliant “I Hate Everyone”. NRSV have the best of all worlds occurring here, for their songs are hardcore gems that appeal to the visceral release of the music, but they are also easy to sing along with regardless of how sloppy you are. The disc delivers eighteen punishing anthems and this is a flawless encapsulation of this band’s brute force and talent. For a band that has been churning this stuff out for over twenty years, NRSV sound like they are fresh from the garage with an energy level that bands half their age could not match. If you want authentic punk rock played with an actual sense of fun go find this, then go see these guys for yourself.

VICTORY IN NUMBERS - Killing. Mourning. Love. (Bullet Tooth Records www.bullettooth.net)

This band’s history is one of devotion to a fallen friend and relentless commitment to their craft. Victory In Number’s name is actually a tribute to Vincent “Vin” Green, the band’s lead singer when they were known as Blue Collar. Green passed away in a car accident in 2004, but the band soldiered on in his honor. Bassist Nick Passio took the helm as vocalist and the newly christened Victory in Numbers plays smartly crafted pop with crunchy guitars. I will not go as far as to include the term punk anywhere near this band, for they are not. This is glossy, Fall Out Boy style guitar rock with good looking guys creating it. In other words, do not let your girlfriend attend a VIN show by herself because she will not be coming back to you. I cannot express my admiration for their perseverance strongly enough, and as much respect as I have for this band because of what they have endured, I just despise this stuff. It comes across as a glorified boy band trying to be loud. In essence, Victory in Numbers could be on Nickelodeon making a cameo on “iCarly”. The harmonics of “Falling to Pieces” or “Dare You to Dance” are too glossy and toothless for my liking. This is extraordinarily safe and panders to the girls who tear up when they hear Secondhand Serenade. The slower, acoustic, romantic “The Last Time” tells a flaccid love story that makes me laugh, and I do not think that is the intended result (“You bring your whiskey bottle/I’ll bring my broken wings”-Seriously?). At times, the guys experiment with some dance elements, such as the intros to “The Getaway” and “I Am”, but this simply falls flat and sounds like goofy studio tricks. It is fitting that Scott Stallone produced this, for his credits include Britney Spears, but even Britney was a little scary when she shaved her head. These guys are following the numbers on how to produce teenage-girl-swoon sessions, which is to be highly emotional in your verses and deliver each line as if your heart is shattering, write a catchy chorus with group vocals, pepper it with a loud, yet predictable riff and then repeat. I hope these kids succeed because they are performing for all the right reasons, but this is just not for me. However, for the young ones who have not yet become soured and jaded by the endless gaggle of bands like this, Victory in Numbers will dominate their Ipods until the next clones appear and replace them.

DASH RIP ROCK - Call of the Wild (www.alternativetentacles.com)

Dash Rip Rock’s Call of the Wild is a self-described party album and that theme is repeatedly almost ad nauseam throughout the disc. Like any good party, this disc has its highs and lows, and there are some songs, like some guests, that should have not been invited, and this disc also hangs around a bit too long when everyone else is ready to go to bed. Much of this does make for an entertaining ride, such as the tongue in cheek “Party 101”, a class taught by Professor José Cuervo (“no, you don’t have to spell it”), and the seemingly endless list of drunks, ne’er do wells, and all out maniacs (ranging from Sid Vicious to Charlie Sheen to the king of them all, Keith Richards) that dot the lyrics of “Party Hall of Fame”. However, by the time you reach the bluesy stomp of “Paint the Town Red” and the swinging bachelor pad vibe of “Everybody’s Getting’ Hooked up Tonight”, your eyes are slits and you are slumped in a corner trying desperately to rally for another beer bong. However, like a bad combination of beer, shots, and Mexican food, the music on Call of the Wild keeps coming back. “Cowbell Girl” does kick some life into a tired theme with it’s prevalence of um, well…cowbell, even making the obligatory “Don’t Fear the Reaper” reference, thereby eliciting a giggle from Jimmy Fallon somewhere. Maybe I am getting old and cannot hold my liquor like I used to, but I am not impressed with much of this. Dash Rip Rock is fun if you are in a bar, the weekend is just beginning, and you are too hammered to notice, but I think I’ll stay home and watch the game.

WORKING FOR A NUCLEAR FREE CITY - JoJo Burger Tempest (Melodic Records www.myspace.com/wfanfc)

If you can sit through all of this you are a better person than I. I know this will be adored by some, and Jojo Burger Tempest does have its moments of bucolic serenity, but I cannot enter into these meandering, non-threatening soundscapes for as long as WFANFC would hope. Much of this is lovely, particularly the sparse, hypnotic fragility of “Float Bridges”, “A Black Square with Yellow Stars” and “Inokashira Park”, or the more kinetic and challenging “Do A Stunt”. This UK four piece has garnered substantial respect and adoration on both sides of the pond, and the creativity and lack of conformity by Phil Kay, John Kay, Gary McLure, and Ed Hulme cannot be questioned. The work which dominates disc one is quite brief, offering a sampling of talent that lies within. There is a multitude of styles and influences are display here that are presented with a cut and paste formula (this is the entire structure of the thirty minute effort which is all of disc two). However, even as the band shifts gears effortlessly between serene intimacy and more robotic, calculated programming (“B.A.R.R.Y.”), I am already waiting for the next track. Generally, in order for aural experimentation to capture my attention, it must take me down a darker, more menacing path, such as the world of power electronics. Quite simply, this was too pretty and benign for my taste. WFANFC is playful, remarkably unique, and unabashedly original, yet it just does not appeal to me.

THE AUTUMN OFFERING - The Autumn Offering (Victory Records www.victoryrecords.com)

The Autumn Offering is a band which I believe has not received the credit they deserve, which is surprising considering its place among the growing metal ranks of Victory Records. Within the sonic force of the new self-titled record is a band finding its voice, as the eleven tracks are focused and polished without losing any of the brutality that first attracted me to this outfit. “Born Dead” and “Exhale the Locusts” are relentless in their fury and played by a band that knows this record could determine their ultimate fate. Fans of traditional death metal (i.e. guys like me) will love the omnipresent blast beats, splash cymbals, tuned down guitars, and guttural vocals of Matt McChesney. However, the Autumn Offering help to push the genre along with musical dexterity, particularly guitarists Tommy Church and Jesse Nunn who are driven by vehemence, but have a technical expertise that allows this band to develop a more singular sound. There are varied tempos throughout the record and the Autumn Offering have clearly become more accomplished players over the years (these guys have been around for over a decade, incredibly enough!) and are eager to demonstrate their talents, as heard on “Hessian Blade” Additionally, the band challenges fans with the inclusion of more clean vocals on “Fed to the Lions” and “Death Mask”; yet another nice twist to an already engaging record. I am intrigued by the band’s ability to combine the harshest elements of death metal, yet seamlessly move from eviscerating screams (check out “Viral”) to soaring, nearly operatic solos (nearly every effort) without making either approach sound contrived. Unlike many other bands of this ilk, The Autumn Offering understand how to write a lasting hook, as heard on the aforementioned “Death Mask”, as well as the pummeling groove of “Bloodlust”. Extremely well produced, the record has a sharp delivery in which each member shines and the sound is crisp without becoming overproduced. This is unyielding metal played with greater sophistication and maturity, and is absolutely worth finding.

BAD COP - Harvest The Beast (ROIR Records www.roir-usa.com)

Oh, these kids today. Bad Cop should make you feel better about the future of America’s youth as these four Southern boys (all under 21) stomp their way through an album of gritty, dirty anthems that are not without some surprising touches. While the record begins a bit too slowly for my liking on “Amorres Perros”, the rest of Harvest The Beast roars with a passion that invokes acts like the Strokes on their best possible day or the Riverboat Gamblers, especially on “I Ask Questions” and “Judas the Snake”. Vocalist Adam Moult has a voice that blends youthful exuberance and wizened experience sounding more battle scarred than his years may attest. Alex Hartness soars throughout the disc on guitar, bringing forth the filth of “Big City, Small Town” and the album’s high point, the sleazy “I’m in Lust with You”. The band tosses in a few psychedelic elements, notably “One in the Same”, paying homage to a rock sound of lore while still peppering the track with abrasive punk angst. The same holds true for the longest effort of the bunch, the dense “Time After Time”, a clobbering piece that includes impressive guitar work in the midst of an opaque delivery from drummer Kharl Merkley and bassist Brent Toler, while the closing “Control” reminds me of Be Your Own Pet’s sense of raw harmony. (In an ironic twist, Bad Cop has toured with Jemina Pearl, former member of said act). There are a few moments when the record sounds a bit redundant, but these kids have their hands on a great sound and they will only get better.

DEFIANCE, OHIO - Midwestern Minutes (No Idea Records www.noidearecords.com)

Blending elements of Americana with louder, more bombastic touches, Defiance, Ohio are not easily categorized, but they vehemently reject the title of “folk-punk”. So, with that option off the table, I will do my best to detail what is found within Midwestern Minutes. You have violin, piano, mandolin, cello, banjo, and upright bass joining forces with more traditional drums and guitar. Each of the six members contribute vocals, so the sound is rich and luxuriant, particularly on “You Are Loved”, “ A Lot to Do” and the opening “Floodwaters”. There is a honky-tonk stomp on “Her Majesty’s Midwestern Islands”, but there is also a pronounced gentile beauty on the brief “Diamonds Theme Song”, and this juxtaposition of hushed and animated make Midwestern Minutes an interesting listen. There is a kinetic energy that makes for a collection of largely bouncy songs, brimming with hope and a sense of infectious fun, balanced by the more somber closing “Everyone Else on the Other Side”. The songs are richly textured, yet they still breathe and allow for each member of the band to make their presence appreciated. You could hear this on front porches and outdoor festivals around the nation, and for people who appreciate the intricacy of traditional instrumentation merging together with more straight forward elements of rock, this is worthy listen. I will not be joining you for any backyard sing-alongs with this, but if you like your harmonies warm and your lyrics introspective, then perhaps Defiance, Ohio is your band.

LAST LUNGS - Look at That Old Grizzly Bear (Deep Elm Records www.deepelm.com)

This UK product creates enchanting music sans vocals and allows guitar aerobics to do the speaking for them. With three guitar players the worry is that you may be overpowered by too many riffs or ideas at the same time, but with the intricacy of jazz ensemble, Last Lungs float from sonic bombardment to hushed beauty and back again within their circuitous anthems. The opening salvo of “Oh, Good Morning”, “33”, and the title track is not for those with short attention spans, for each hovers around the seven minute mark, but for an act like this, it would be illogical for the songs to be any briefer. Sean Doherty, Billy Morris, and Joe Greenhalgh generate swirling, atmospheric songs that are accented by the subtle power of the rhythm section (Liam Burbridge on bass and drummer Nathan Entwistle). When the band does abbreviate some of their tracks, such as the “Inglend” trilogy and the serene “Wax and Wane”, the results are equally enthralling. “Kaleidoscope” encapsulates the band’s haunting majesty, as the song opens with a genteel intro left over from the previous “Wax and Wane” and then with painstaking precision, works itself up into a frenzy of guitar force before just as quickly fading into oblivion. The delicacy of “Now Against the Staircase, Pt. 1” is poignant until the band again dismantles the calm with a streak of sonic force. The closing “Now Against the Staircase, Pt. 2” does not conclude the disc with the power one may expect, but the result is still of musical expression that impacts the listener on a visceral level.

PAGAN BABIES - Last: An Anthology (DRP Records www.drprecords.com)

From great books to excellent compilations, the summer of 2010 seems to be the time to get yourself reacquainted with significant, if not always nationally recognized, punk acts. The latest entry comes from DRP Records and celebrates Pagan Babies, a Philadelphia sensation that places a different spin on what hardcore punk can be and how one should sound. The Pagan Babies actually have fun while delivering speedy, harmonic punk, and Last, a twenty-nine track opus, will remind old fans of the band’s unique style and entice new ones. Vocalist Mike McManus is a dynamic singer whose vocal delivery is neither screamed nor spoken, but falls into a midrange of fury. There is a multitude of tracks worth celebrating, including “Exception to the Rule”, “Fuck You, I’m Punk”, and “Dirty Knees”, which are traditional tales of teenage energy, as well as the humor of “Dumb Cops Attacked by Squirrels” and “Well Oiled Redneck,” offering a counterbalance to the somber political and social commentary which dominated the scene. Songs like “The Bitch,” “In a Lifetime,” and “Boxed In” show the initial signs of a crossover sound that would be led by acts like the Crumbsuckers and DRI. The buzz of guitarists Dan McGinnis and Eric Squadroni cut through each track, while the low end of bassist Mark Pingitore and drummer Bruce Boyd are thick and pummeling. If you missed the Pagan Babies in their heyday (like I did), this collection is a powerful example of a band that could balance hardcore intensity with sophisticated songwriting. Why these guys are not mentioned in the pantheon of classic American hardcore is beyond me, for “Beyond the Fringe” or “What Really Matters” are intelligent, heartfelt anthems that will also have you skanking around your room. This is mandatory listen for any true punk fan.

REHASHER - High Speed Access to My Brain (Moathouse Records www.rehasher.com)

Less Than Jake bassist Roger takes the vocal responsibilities for Rehasher, whose name is a fitting description of their brand of punk: it’s punchy, fast, and unspeakably harmonic, but you have heard this many, many times before. I find myself imagining this as potential theme for the X-Games, specifically the big, sing-along harmonics of “My Compass Must be Broken” or “Super Fan”. Guitarist Geis (also from Bullets on Broadway) soars throughout the disc, blending a mixture of raw speed and technical skill on “No Eye in Team” and “Lose My Limits”. However, the band may be best encapsulated in “Out of Ideas”-it is a blistering, snarky anthem, but if you were alive for Fat Wreck Chords’ 90’s pinnacle with NOFX, Good Riddance, Mad Caddies, etc., you may lose interest. The professionalism of the members of Rehasher is impressive, for while they have been doing this for quite a while, there is still a youthful exuberance on High Speed Access to My Brain. This is perfect for kids are just finding their way into the world of melodious punk and are not going to enter Hot Topic; however, the older fans may simply dust off some old LTJ.

THE RUINERS - Happy Birthday Bitch (Pravda Records www.pravdamusic.com)

I love this band - the Ruiners deliver sleazy, slimy, fuzzed-out guitar rock that feels as if it crawled out of the sewers of Detroit. The Ruiners rip through ten dirty nuggets of rock energy highlighted by the romp of “Sugar Buzz” and the biting title track, sounding as if The Cramps and The Plasmatics spawned some sort demonic rock child. Songs like “Messin’ Around” and “Beer Time” are a rock n’ roll primer-keep it loud, simple, and fun. You will be unable to lose the chorus of “Eatin’ Me Alive”, and the bluesy slide guitar on “Fix That Broken Halo” is nastier than anything Joe Perry ever unleashed. Rick Ruiner’s vocals, which are expectedly gritty, are off set by the intense wailing of ultra hot Nina Friday (who also adorns the delicious album cover). While the opening trio of tracks is quite solid, I am completely infatuated by the huge hook of “Charlie Laine Ate My Brain”; a song with a Ramones title and a 60’s garage vibe. The same attitude resonates on “Suburban Cop”, a vicious assault of raw guitar and Rick Ruiner’s snarling vocals, in which the phrase “protect me, serve me” never sounded so charged. Meanwhile, the grease simply drips of the Southern fried “Screw You”. If this one is not a permanent fixture on a former Soprano’s Underground Garage, I will lose all faith in mankind. You will need a shower after listening to this.

CHARLES THE OSPREY - Consider (Friction Records www.frictionrecords.net)

So this Grand Rapids, Michigan duo plays complex, articulate instrumental math-prog-jazz-rock that is certain to illicit grand responses from fans of acts like Don Caballero, Hella, et al. Charles the Osprey is thunderously loud and highly complex. However, if one was to dissect each instant of each track, one would find the individual moments of guitarist Rafeal Ohli and drummer Derek Lancioni to be quite straightforward. In the midst of this seemingly benign playing is a barreling collection of songs with titles like “Lipstick With Bull Tendencies”, “The Frontal Lobe A Go-Go”, “Hornets Don’t Have to Feint” and “Eucharist Prototype”. Each effort fluidly moves through a multitude of structures which can be both raucous and delicate. Ohli is the type of guitarist who will delight experienced musicians along with no-talent hacks like me; his style is difficult to define, for he employs a multitude of influences throughout the record, ranging from bluesy, controlled pieces to soaring, aggressive riffs. All the while Lancioni hammers away with a surgeon’s precision and a madman’s rage. This juxtaposition of styles makes Charles the Osprey a challenging listen that can be easily misunderstood by the unexpected or dilettante. The scope of each song is impressive, for the duo sounds like a band four times their size, traversing aural landscapes with bruising force. This is heavy without the metal and two talented players who embrace their bizarre and unconventional style. This is for the bold only, but if you appreciate when a band refuses to exist within a pre-existing niche and chooses to create one of their own, this is for you.

BLACK HELICOPTER - Don’t Fuck With The Apocalypse (Ecstatic Peace Records www.ecstaticpeace.com)

When a band opens their disc with a track about Soviet soldiers languishing during an invasion of Prussia as Black Helicopter does here, it is obvious that one is in store for a unique listening experience. To that end, BH does not disappoint, for this four-piece can be noisy and abrasive (“Pickle Jar”, “Idiot Son”) or they can channel their inner Americana (“Record Player”). Regardless of style, the band repeatedly takes bold chances with their sound as vocalist Tim Shea delivers his words in monotone but not emotionless style, allowing the listener to truly appreciate what is being said. The expansive “Class Action” allows for drummer Matt Nicholas and bassist Zack Lazar to truly shine as the song serpentines its way through an intricate narrative outlined by Shea. I am most impressed with the guitar work of Eric Baird, whose style of playing is both aggressive and precise. It is rare to hear a band that can deliver a song of intimate delicacy such as the instrumental “Occupation of Prussia” and then switch gears radically to the forceful “Under the Bus”. A band such as Black Helicopter is fittingly signed to Thurston Moore’s record label, for like Moore’s musical catalog, Don’t Fuck With the Apocalypse is not easily characterized or summarized, but this is quite a ride for those bold enough to give it a shot.

GIT SOME - Loose Control (www.alternativetentacles.com)

PITY WHORES - Quarter Life Crisis (www.iacmusic.com/pitywhores)

BEAR IN HEAVEN - Beast Rest For The Mouth (Hometapes www.home-tapes.com)

There is an eerie beauty throughout much of Beast Rest for the Mouth, a sparse, ethereal, and challenging work from this Brooklyn (where else?) outfit. “Lovesick Teenagers” has generated a significant amount of acclaim, but it is “Deafening Love” that is the masterpiece here. Apparently, the effort underwent twenty-three (!) mix changes before the band settled the haunting, chilling final version. There is a copious amount of delicate playing here, such as the headspace present on the opening “Beast in Peace” or the mesmerizing “Fake Out”. The moody soundscapes that dominate this record bury vocals deep within the mix and force the listener to pay attention to each subtle nuance. I am not normally a fan of such electronic efforts, but there is something still very human about Bear in Heaven. The songs may buzz with synths and some drum machines, but within the textures is a vulnerability that gives efforts like “Ultimate Satisfaction” and “Casual Goodbye” their attractiveness. This is the antithesis of mindless synth-pop; Bear in Heaven layers sounds and textures to generate warm, dense songs that still retain a memorable structure. The disc also includes a second disc of remixes that take these already majestic songs and converts them into expansive entities, highlighted by the High Places remix of “Drug a Wheel” and the Deru remix of “Deafening Love”. This is one more example of how Brooklyn is cooler than wherever you are currently living.

WE WERE SKELETONS (Topshelf Records www.topshelf-records.com)

This Lancaster, Pennsylvania trio unleashes swirling masses of sonic force throughout this self-titled release. Blending hardcore’s fury and post-punk’s angular experimentation and fluid musical dimensions, We Were Skeletons is both ear-splitting and engaging. The riffs are gaunt, cutting stabs of power compliments of Justin Pallas, while Rafael Diaz and Matt Nissley play bass and drums respectively with a sense of precision and might which contributes surprising melody into an otherwise frenzied atmosphere. Each track experiments with time and tempo signatures including the stark instrumental “Her Stomach is a Lioness”, but longer efforts such as “Kids” and “This Destroys Us” truly gives the band room to dispute conventional expectations. This is hardcore that features cathartic fury, exact musicianship, and intelligent lyrics (sample lyric: “Bodhisattva of the aching night/witness poet of existence” taken from “Exposure to Heavy Metal Causes Whatever”). “Bruce Willis Was Dead the Whole Time” encapsulates the band’s ability to effortlessly shift between soaring intensity and striking meticulousness with agility nearly unrivaled. We Were Skeletons are kicking life back into a screamo scene that had become inundated and repetitive. These three kids happily eschew any premeditated definitions of how hardcore “should” sound, and they blissfully and ruthlessly dismantle the listener with blistering precision. This is not music that pummels you like a blunt object; instead, We Were Skeletons eviscerates you with a sharp, rusted, knife as you watch helplessly. This act should be watched carefully!

FLOORED BY FOUR (Chimera Music www.chimeramusic.com)

These lengthy four tracks ( the EP clocks in at over forty-five minutes) represent the finished product from Mike Watt and a trio of other celebrated players. Dougie Browne expertly handles drums, Nels Kline shines on guitar, and Yuka Honda offers majestic, beautiful keys throughout. Each song bears the name of a member beginning with “Nels”. At nearly ten minutes in length, Floored by Four takes its time and allows the song to breathe. There are quiet, ethereal interludes interspersed with bouncy, energized segments. Despite the differences in structure throughout the song, there is a remarkable cohesion here which is reflective of the talent on display. In the hands of less adroit musicians, this could become a sloppy mess. Instead, Floored by Four simply uses these tracks as a vehicle to investigate their limitless inspirations. “Yuka” is a touch slower than its predecessor, although similar in length. With sporadic lyrics from Watt and thunderous bursts of furious playing by Cline, this is a fascinating multiplicity of textures and arrangements. Ironically, “Watt” is the shortest and most straightforward of the songs here. At roughly four minutes, the band stuffs as much energy as possible into the song but it is not as varied as the earlier efforts. It does allow Watt to shine on bass, as his thick playing is the driving force here. The nineteen minute plus closer “Dougie” has traits similar to the opener, as again the band does not needlessly fill each second with sound. Instead, they allow for the track to move in a serpentine fashion around lush keys and an expansive musical landscape. The song is gentile, precise, grandiose, and understated all at the same time. This is a dizzying demonstration of what can happen with remarkable people close themselves off in a room together. It is not a surprise that Chimera is the label to release this, as their stable of acts reflects a dedication to the experimental and uncompromising. Set some time aside and enjoy this.

Why Be Something That You’re Not: Detroit Hardcore 1979-1985 by Tony Rettman (Revelation Records Publishing)

Upon a quick glance, one may wonder why there is a tome dedicated to such a finite period of time within the hardcore movement, but it does not take long to understand the significance of Detroit within the emergence of the larger American hardcore scene. Tony Rettman does a magnificent job chronicling the birth of Detroit’s underground punk movement through copious interviews and poignant and occasionally hilarious anecdotes. For many music fans, Detroit punk usually connotes the MC5 and The Stooges, and when one progresses into the onset of the Reagan years, Necros and Negative Approach instantly come to mind. Both of those bands are given the celebration they deserve through the hardened tales of those who lived it. However, Rettman digs deeper to illuminate the impact of more experimental and visionary individuals such as Larissa Strickland, whose band L-Seven did not fit neatly into any particular label, local teacher Russ Gibb who actually used a new media called cable to put local bands on television, and Tesco Vee’s side project Blight, whose use of a trumpet simply perplexed many punks. The book also illuminates the power of fanzines and basic letter writing which now comes across as quaint in the midst of the internet age. The images of the flyers which permeate the book will certainly take old timers back to when self-promotion was done by hand and not by websites. While bands today can earn a massive following by simply posting MP3’s, the dawn of the 80’s saw farsighted masterminds such as Tesco Vee and Dave Stimson concoct the Touch and Go fanzine to reveal the blunt force of the Midwest to the rest of the nation. Suddenly, through ‘zines and true D.I.Y. aesthetic, shows were arraigned and bands like Black Flag, the Circle Jerks, and Minor Threat crossed paths with local acts like Bored Youth, Violent Apathy, and the legendary Meatmen. Why Be Something That You’re Not takes the reader into the bowels of clubs like The Freezer, Nunzio’s, and Clutch Cargo’s where these bands of kids came together to play for each other and for the love of truly making something unique. Rettman also reveals some of the back-biting and cliques that emerged within the movement, with a great deal of frustration vented towards The Fix, a band that toured the West coast only to return to a very different Detroit, and even Necros once they grew their hair. Within the pages are the struggles and labor of love that defined these bands and their true amazement that anyone outside of their little crew would appreciate and even be inspired by what they were doing. There are highly interesting sidebars as well, including the background of Fear’s memorable performance on Saturday Night Live, and an uproarious little tale about a leather-clad Rob Halford being brought by limo to a punk club by mistake in his quest to find a gay bar. First hand accounts range from local roadies to Ian MacKaye and Steve Shelley who played drums in the always controversial Crucifucks before moving on to Sonic Youth. At roughly 160 pages the book ends abruptly, but that seems fitting, as the Detroit scene itself seemed to implode with astonishing speed as the shows became scenes of mindless violence by people who came looking for a fight and completely missed the relevance of the music. However, Rettman provides an exhaustive list of the shows, bands, and releases that helped to alert the nation that there was something special happening in Detroit. While many hardcore fans reminisce about the LA, Boston, and DC scenes, Why Be Something That You’re Not will certainly educate or remind readers the impact Detroit had and should motivate people to either reconnect or discover these acts for themselves.

FANGS OUT -Speech Shadowing (Etxe Records www.etxerecords.com)

“Everything you ever loved has a price tag” coos Samantha Wandtke on the bass heavy and instantly memorable “Black Market”, one of the many highlights from the duo known as Fangs Out. This anti-consumerism and scathing critique of society is omni-present on Speech Shadowing, a highly inspired debut for this multi-talented two-piece, which also includes Mark Peterson. The two craft raw, minimalist art-punk that should illicit warm responses from fans of Wire, early Sonic Youth, or anyone who simply wants something a bit more musically confrontational. Much of the music here boils over with unpretentious fervor, noticeably the sardonic “Lap of Luxury” and the dark “Unipolar”. Wandtke’s voice can morph itself into a myriad of sounds, from a husky yelp to a sultry harmony, and she does both on “Polished Place” and “Heat”, while rugged guitar riffs bounce along side throbbing bass lines. There is something wholly raw about Fangs Out as there is nothing “pop” about this record. Speech Shadowing is a fiercely delivered collection of songs that defy contemporary structures and celebrates an honest respect for all things uncompromising. This is an act that harkens back to the days when D.I.Y. was truly a philosophy and not simply a catchphrase.

GATORFACE - Wasted Monuments (No Idea Records www.noidearecords.com)

Emerging from the scarred corpse of New Mexican Disaster Squad is the biting fury of Gatorface. This Florida four piece, including Alex and Richard from the aforementioned NMDS, tear through thirteen tracks at breakneck speed, invoking a classic punk sound while still remaining vibrant and fresh. There is not a wasted (no pun intended) moment here, but a handful of gems separate themselves from the collective aural din, namely the opening “The Cleaner”, the brilliantly titled “Fuck Florida, I’m Moving to Brooklyn” and “Luxury Lost”. Primal melodies dominate Gatorface’s delivery as the band roars and bellows with decisive power. Perfectly mixed and recorded by Derron Nuhfer, each song balances speed and angst into one explosive cauldron of force. Wasted Monuments is a modern punk triumph, reflecting the boredom and frustration of this country’s bland suburbs, a feeling that is only exacerbated in the plastic happiness of a town like Orlando, Florida. I was first introduced to Alex and Richard through the scathing No Friends, a disc I adore, and like that band, Gatorface will help remind you why you love punk in the first place.

HUNTERS, RUN! - “Life of Crime”/”Oh My Ageless Brother” (Battle Standard www.myspace.com/huntersrun)

The opening track of this two song single is a genteel, deeply ethereal effort and a significant departure for Hunters, Run! While the strings are pretty and the vocals are warm, I am bored within two minutes of listening. Some guitar is nestled within the mix, but I expect a beefier sound from H, R! This could simply be an example of a band stretching their sound and challenging themselves as musicians, and this is highly commendable. Unfortunately, this effort comes across as quite pedestrian. “Oh, My Ageless Brother” is a more traditional arrangement for Hunters, Run!, as it blends jangly guitars and robust vocals. However, this too sounds too slick for my liking. The effort is sweetly played and harmonious but does not appeal to my particular musical palate. If one enjoys a layered, yet unapologetically poppy record, this single should satisfy your cravings. I will select to pass, however.

THE UNDEAD – “I Want You Dead” EP (Post Mortem Records www.theundead.com)

The back-story on this one is worth any price alone, and so for those of you who either were not around, forgot, or cannot remember what happened, here we go. Nearly thirty years ago, Bobby Steele was a member of a little New Jersey punk outfit called The Misfits and he had recently been fired form said band. Steele went on to create The Undead, and ironically, the man who fired Steele, Glen Danzig, eventually found himself enamored enough with Steele’s new band to release the Undead’s first recorded material and make his Plan 9 record label more than a hobby. However, in the midst of touring, losing a toe, and earning copious amounts of praise, Steele’s band angered Danzig (likely due to the compliments the Undead were receiving) and so the plan to release Undead material was dropped. Ultimately, The Undead signed with Stiff Records and you should know the rest of the story involving Danzig and the Misfits. So, with all of that said, how does this actually sound? In short, it is a collection of songs three decades old that could wipe the floor with what passes for the majority of punk today. I am not just waxing poetic about the old days-these five songs are fast, pummeling, and infectious. “My Kinda Town” was an anthem for New York City punks in the throws of the burgeoning hardcore scene of the early 80’s and one can certainly hear why, while “A Life of Our Own” rages with an independent spirit that defines hardcore both now and in its incipient stages. The B-side features the roaring “Pretty Baby”, penned by then-drummer Patrick Blanck, along with two neck-snapping pieces crafted by Bobby Steele. (“When the Evening Comes” and the riotous “I Want You Dead”) One can hear the grime of early 80’s Lower East Side New York throughout the record, taking the listener back to the days when the City was filthy and Times Square was actually dangerous. The energy of the playing here has stood up against the usually unforgiving test of time. This is not a release only for history buffs-this is a living, breathing example of classic early hardcore and Bobby Steele and his new cohorts will continue to matter.

AUTOMATIC LOVELETTER - Truth Or Dare (Sony Music Japan)

This disc features the next potential pop sensation in the form of Juliet Simms. This girl could rule the world with her voice, but I will not be listening. Automatic Loveletter hit hard on the opening “Heart Song”, a bold statement that introduces the listener to the robust nature of Simms’ soaring vocal style. Unfortunately, this opener is also the high point of the disc, although “Don’t Let me Down” has a sensuality about it that makes it briefly appealing. Sadly, however, it is apparent that a guy in a suit, or a group of suits, has influenced this band to create disposable pop that is beneath their collective talents. “Fade Away” and “Hush” will appease young kids who do not know any better, and that is a shame, for this band could move well beyond the constraints of these efforts. The same problem exists in “Story of My Life”, “Day They Saved for Us”, “Let it Ride”, and “Eyes on You” as Simms comes across more Ashley Simpson than Joan Jett. The record as a whole is too safe-this sounds like the music that is currently infecting your local mall. This could become the soundtrack to thousands of teenage romances and may sell millions of copies, but if you are old enough to drive by yourself, you will find this far too syrupy sweet. I can understand why this band has the potential to be popular as the hooks are easily digestible, the lyrics are simple and clichéd, and Simms should become an idol to millions of girls who aspire to mainstream fame but do not want to dress like Lady Gaga. I am certain this will sell, but not to me.

CAMPAIGN - It Likes To Party (www.itlikestoparty.com)

Campaign strikes me as a band I have heard many times before, but I just cannot palace exactly where. The guitars are loud and muscular, the drumming is solid, and the vocals walk that line between angered bark and semi-melodic, yet this all sounds dated. Maybe if this was released a decade ago, I might find this invigorating, but It Likes to Party falls flat. Each of the five pieces is cut from the same cloth with little distinction between the songs. Whether it was the well worn structure of “Rock Bottom”, the quasi breakdown of “Best Luck” or the lamenting of “Blue Pills”, I just feel that are legions of other bands that sound like this but have a more memorable personality. This is a perfectly acceptable record, and if you are new to the world of indie guitar rock, this is a nice primer. However, too many will listen to this and struggle to find any hint of true originality.

FRANK (JUST FRANK) - The Brutal Wave (Weird Records www.weirdrecords.com)

IMADETHISMISTAKE - Bow and Quiver (Bermuda Mohawk Productions www.bermudamohawkproductions.com)

This unique outfit is a challenge to categorize, which is always a good quality in my view. Kyle Campol is the breakout star here, but he is surrounded by a broad array of talent. Campol’s vocals are occasionally spoken, screamed, or sung with equal parts intensity and passion. He is also a skilled storyteller, writing provocative and intelligent lyrics. (“You’re obtuse in your way of thinking but acute when you speak.”-“Winter in New Bedford”) From the French horn placed adroitly in “New York”, or the gang vocals of “Evasion Tactics” and “Stateside”, Imadethismistake pick and choose from a multitude of ideas to create a record that is truly unique. There is an urgency to the music, whether it is the lengthy narratives of “Rouge Island” and “Weak Week” or the start/stop dynamics of the aggressive “Stateside”, Imadethismistake pull you into the realm of organized chaos. “Weak Week” sneaks up on you with its raw abrasive nature and scorching guitar solo compliments of the mysterious “Fat Man”. This track is the finest example of why this band is worthy of your attention: there are speedy punk elements, fabulous lyrics, excellent musicianship which includes both raw power and jazzy interludes, and soaring backing vocals from Julian McGrath and Mike Natoli. Surprises abound here, including the delicate piano which accents “Winter in New Bedford”. The disc closes with two multi-dimensional tracks, “The Grimmerie”, parts 1 and 2. This duo of songs is perplexing as they are expertly delivered, particularly the sparse conclusion of “Part 2, Go Ahead, Ascend”. This disc makes you work as you listen, but it is worth the effort.

SUPERHUMANOIDS - Urgency (Hit City USA Records www.hitcityusa.com)

THINKING MACHINES - Work Tapes (TMvFM Records www.myspace.com/tmvfm)

Thinking Machines is a fortuitous name, for Work Tapes is a thinking man’s album. This outfit recently upgraded to a four piece by adding a second guitarist and their sound has a tangible difference. While the opening “Dynamic Shields” begins with a level of subtlety, there are plenty of fireworks to be heard on “False”, Segment” and “Parallax”. Work Tapes is a progressive record and the songs blend a focused vocal delivery from Cody Brown, with angular guitar work from Marcus Epler and Nate King. At times one can detect elements of shoe-gazing pop, accented by burst of punk fury. The closing “Loop” best encapsulates the band’s ability to blend the serene with the bombastic. Although one must be patient, once the guitars kick in, this song is an exhilarating experience. Thinking Machines are experimental yet still harmonic; they do not allow themselves to become bogged down in oft-kilter wanderings. The guys construct songs that are intricate as well as tuneful. Go out and find this.

THE BAMBOO KIDS - The Way Things Are (Drug Front Records www.DrugFrontrecords.com)

The Bamboo Kids have been churning out glossy garage rock for almost a decade now and this new EP features more of the same. The opening “Daylight Be Damned” nearly dances out of your speakers as it blends an infectious hook accented by well placed piano and authentic rock energy. The throbbing “You Can’t Trust Me’ is perfectly juxtaposed with the more controlled “The Way Things Are”. The latter sounds as if it could have fit in on Let It Bleed or Beggar’s Banquet with its combination of strong drumming and lush keys. The one misstep here is the plodding ballad “Central European Time”; a track that simply does not seem to go anywhere. The rollicking closer “The Streets of New York City” has sax playing that would make Clarence Clemens jealous. Overall, a very solid stop gap release that will satisfy fans and newbies alike until their next full-length.

CHILD BITE - The Living Breathing Organ Summer (Joyful Noise Records www.joyfulnoiserecords.com)

Part punk, part avant-garde noise, Child Bite has a sound difficult to summarize but it’s highly engaging. Shawn Knight reminds me of a lower octave Jello Biafra while his mates churn out soaring, abrasive, and engaging chaos on efforts like “Age of Vacuum Trotters” and “Limpin’ Around and Pussy Footin’”. J. Robbins is the producing mastermind behind this and his expertise shines through on songs as diverse as “Barks to Addle”, which actually features timpani, to the riotous “Born With Both Parts”. I am always taken in by bands who simply refuse to conform and a song like “Black Pyramid Mausoleum” encapsulates the sensibility of this band; they have an anxiety about their music. This is the equivalent of watching a lost soul standing on top of bridge wondering if he’s going to jump; you don’t want to watch but something compels you to not look away. Child Bite creates that same emotion; the music is jittery, intense, and deeply gripping. The guitar work of Zack Norton ranges in intensity and emotional conviction, while the relentless rhythm section steals the show here. Bassist Sean Clancy and drummer Danny Sperry work in airtight synchronicity, forging a sound that is simultaneously thunderous and intricate. Child Bite is innovative in the next wave of indie rock.-Rich Quinlan

KUZLE - Se Pomnite Kuzle, Tavarisi? (Dallas Records www.dallas.si)

Apparently, Kuzle (“The Bitches”) were an act that helped to define, according to their bio, the second wave of Slovenian punk. I was unaware that there was a first wave, but that point aside, Kuzle plays a brand of rhythmic punk that would defy listeners to believe that this material is nearly thirty years old. The story behind this disc is pretty cool: the twenty tracks here are not a Kuzle comeback, but rather a re-recording of their music with higher quality gear. Essentially, this is how the band always wanted to sound, but simply lacked the technological expertise (and the money) to make it so. Breaking up in 1983, the members of Kuzle were always proud of their work, rightfully so, and did not want it to fall into permanent obscurity. I love much of the work here, but unfortunately, the lyric sheet to this disc, which is called Do You Remember Kuzle, Commrades?, does not feature a translation. One can be found online, but an additional sheet inside the disc would have helped. Therefore, the listener is lost as one is pounded by “Reeka-Postojna-Lublana”, Ti Si Zvezda”, and “Naredte Revolucijo” to name only a few. Each of these songs is instantly catchy and highly harmonious, but my Slovenian language skills are not very polished. This is an example of how good music is universal when it is played with passion, and language and cultural barriers do not prevent a disc from being highly enjoyable, and this is a worthwhile find. Additionally, as a very unique aside, there is now an all-girl version of Kuzle, appropriately called MlaDe Kuzle, or “The Young Bitches” who perform around the Slovenian region. Pack your bags.

LOCKS - Suicides Don’t Commit Themselves (Static Station Records www.staticstation.com)

For only a duo, Locks create tremendously dense music. There are a collection of moments here that help to define this act, such as the throbbing, bass and drum heavy “Language Song” and the dark “More Boring Heroes”. “Heroes” features monotone vocals over the top of a repetitive drum beat, atmospheric guitar and ethereal effects. This has the sensibility of cracked art-rock that will challenge listeners. Various samples layer each other in the disturbing “Everyone Loves Things’, which combines horror and the idea of a love song with thunderous drumming intentionally buried deeply in the mix to create a chilling final result. The drum and bass groove of “Whatever it Takes to Sleep” is nearly tribal in its structure, however, the repetitive nature becomes frustrating and I am anxious for the song to move forward, as it is seven minutes before we finally hear vocals. The haunting “Smokers Cough” is understated, but its’ stark nature makes it the most compelling effort of the disc. A nice version of Wall of Voodoo’s “Crack the Bell” and J Church’s “Priest” round out a disc I find to have both intriguing hits and frustrating misses. Unique, at times in infuriating, but ultimately a worthwhile listen.

MAHJONGG - The Long Shadow of the Paper Tiger (K records www.krecs.com)

This sounds like the music played at clubs I’m not hip enough to enter. Mahjongg is a Chicago outfit who call their sound “Chicagotronic” and that tag works. Blending keys, screeching effects, guitar, mesmerizing percussion, and even a little sax for spice, Mahjongg creates dance music that transcends house, dub, and drum n’ bass which results in something very fresh. “Grooverider Free” clocks in at over nine minutes and sounds like three different tracks spliced together, while the pulsating “Wardance” radiates with an intensity usually not associated with dance music. This is not usually my genre, but there is something charismatic here. The polyrhythmic nature of “LA Beat” instantly grabs you, while it is impossible to not lose one’s self in the feel good groove of “Whoop”. Even with the occasional annoyance of the use of auto-tune, this is a cool disc from a band taking dance music in new directions.

SONIC REBELLION - Heads We Win…Tales You Lose (www.sonicrebellionrocks.com)

These guys seem to be from a different era. The members of Sonic Rebellion desperately attempt to capture a hard rock sound but it falls flat too often. The opening ‘Awake Now” and “Mad as Hell” simply try too hard to make the listener believe that they are listening to a pure rock revival. Sure, the AC/DC and Aerosmith vibes are present at times, but “Make it to Midnite” (I HATE the cheesy spelling of that word) and “I Got Mine” are less Led Zep and more early 80’s Sammy Hagar. Ugh. One could pound a few beers to this, and you may want to in an attempt to forget what you are hearing, but I would not introduce this disc to your friends. Vocalist Andy Smith’s voice is gruff, but it lacks range and much of the playing behind him comes across as stock riffs that do not illicit much of an emotional response. Even when the guys attempt a grittier sound, as they do on “Song About Revenge” or “Feel It”, they sound like a bunch of weekend warriors who may play for fun on occasion, but should not plan on making this a career. For a band that hoped to capture the bombastic nature of some of rock’s giants, they seem to omit the passion and simply do rock by numbers. Kids playing Rock Band display more intensity than these guys do. The final dagger for me in the Boston meets Blind Faith (badly) syrupy ballad “Find My Way”. Stay away from this.-Rich Quinlan

BALANCE AND COMPOSURE/TIGERS JAW Split (No Sleep Records www.nosleeprecs.com)

This split disc brings together two of Pennsylvania’s finest young bands, Doylestown’s Balance and Composure and Scranton’s Tiger’s Jaw. Both acts have a number of positive qualities as they deliver emotionally charged songs with a nice balance between aggressive guitar playing and harmonious song structures. Balance and Composure grabs the listener instantly with “Kaleidoscope”, a driven, meticulously played effort that introduces the listener to the strength of Andy Slaymaker’s vocals. His voice fluctuates between a gruff, anguished yelp (“Twenty Four”) and melodic crooning, but he always delivers with intensity. The three guitar line up of B&C creates a wall of sound that explodes on the aforementioned “Twenty-Four’, the most engaging track of the bunch, and as Slaymaker hollers “let it go”, his compatriots respond in kind, generating a powerful mass of sound. The band does a wonderful job of sounding very fresh and never falls into a trap of re-treading well worn territory. Yes, the arrangements here oscillate between loud and quiet dynamics, but the emotion is so pure and the energy so infectious that one can and should overlook the unnecessarily extended lull in ‘Rope”. Ultimately, this is a band that comes across quite powerfully and displays great maturity. I think someone should call Deep Elm about these guys.

The style of Tiger’s Jaw is somewhat similar to that of Balance and Composure, but while B&C walked a thin line between rage and equanimity, Tiger’s Jaw sound slicker and far less threatening. The opening “Lodging” is a very polished effort and Adam Mcllwee has a smooth voice, but it lacks the immediacy of their neighbors. The same is to be said of “Jet Alone”, a tune that is quite benign despite the biting nature of the lyrics (“I want to walk over you like a floorboard”). Tiger’s Jaw has a dreamier, more ethereal sound with a poppier sensibility than B&C and they do not hold my attention in the same manner. The songs are also much shorter from Tiger’s Jaw with all four tracks clocking in around the three minute mark, while B&C offers songs hovering around five minutes with labyrinthine changes by comparison. In the end, this disc can please a wide array of people-if one is seeking emotive yet angered playing, Balance and Composure will allow you to exorcise your frustration, while Tiger’s Jaw will appeal to the better angels of your nature. I enjoy both bands, but I usually lean towards the more intense, and I am more supportive of what Balance and Composure has to offer.

BLACK WATER - Disasters (www.blackwater.tv)

I am consistently surprised by high quality bands that are forced to be self-sufficient because no label has demonstrated the insight to sign them. One can add Black Water to that list, for this Jersey trio has compiled a very impressive debut. There is a great deal of action taking place in these songs, and the band feels confident enough to explore a variety of nuances on “On A Grid”, “Arizona” and “Keep Your Eyes Closed”, as vocalist/guitarist Adam Copeland produces one crunchy, impassioned riff after another. Supporting him are the intricate skills of bassist Gerry Griffin and drummer Lloyd Naideck. Both offer warm backing vocals, particularly so on “Oh My God’, but there are numerous subtle assistances as well. Each piece of Disasters rollicks and snaps with an infectious energy, and while most tracks clock in well past the five minute mark, none of the songs overstay their welcomes or become redundant. Of course, since I have a short attention span, I am drawn to the shortest number of the bunch, the rocking “Drugstore Model”. The spatial breadth of “7 Years” is both ethereal as well as intense and this is a difficult balance to strike. I do not know much about the background of this band, but these guys sound as if they have played together for quite a while, for there is a seamless cohesion that dominates the disc. This is one to support for Black Water are highly talented and deserving of greater recognition.

GROWNUPS - More Songs (Big Scary Monsters www.bsmrocks.com)

Do not confuse this band with a seemingly dreadful Adam Sandler film, for Grown Ups is anything but campy and mindless. Is it too early to begin to look fondly upon the golden age of emo and reminisce about the old days? If not, and you still believe there is some gas left in that tank, then Grown Ups will make you appreciate when that style was pure and more punk than pretension. The angular complexity of “Weed Science” and “Six More Weeks of Winter” celebrate the strained glory of Doyle Martin’s vocals and the guitar strength of Adam Sheets. The songs seem to explode for they are played with a furious intensity that borders on disarray but never loses control. “Surprise Party” is another example of the band’s confrontational style, for the track includes thunderous contributions from bassist Andy Tokarski and drummer Jacob Bonham, whose name could not be more fitting. This is surprisingly abrasive and aggressive and I am impressed with the reckless abandon with which the band plays on songs like “Pears”, which is my highlight of the disc, and the more rhythmic “Orange Cat” and “Spider Mansion”. This is a record that will appeal to a wide swath of fans, including those who appreciate obtuse punk and technical rock. This is worthy seeking out for yourselves.

PARLOVR (Dine Alone Records www. dinealonerecords.com)

Parlovr, pronounced “Parlor”, is a trio of highly skilled players creating a unique and intentionally messy version of indie-pop. This Montréal outfit has been generating some very kind words on both sides of the border and for good reason; their self-titled disc is an exploration of off-beat rhythms and songs that are both warm and comfy, but also horrifically disheveled. The band surprises a bit with the bombast of “On the Phone” and “In Your House”, while they also display wonderful dexterity on the more controlled “Sandwalking” and “Sleeping Horses”. “Speech Bubble/Thought Cloud” is perhaps the most interesting of the bunch and begins innocuously enough before exploding into a mass of organized chaos. The band is comprised of guitar/vocalist Louis Jackson and there is no true rhythm section of which to speak, for drummer Jeremy MacCuish is accented by keyboard player Alex Cooper. While there are elements of the band’s indie dance pop present in much more well established bands such as Franz Ferdinand and I even heard a little bit of the Killers on “Archy and Mehitabel”, the band’s overall delivery sounds fresh. One can pick out the influences, but the finish product is by no means a derivative of something you have heard in the past. The record is big, vibrant and engaging. Each track possesses a unique personality and retains elements of the band’s ‘sound’ yet also perpetuates an individualism that helps to embody Parlovr’s indie aesthetic. I would look for these guys to be illuminating industry showcase shows very soon.

SECONDHAND SERENADE - Hear Me Now (Glass Note Music www.glassnotemusic.com)

Oh, if I was only a fifteen year old girl. If this was the case, I could possibly lose myself in the melodrama and emotional distress spread throughout John Vesely’s new record as Secondhand Serenade. My initial reaction was to think of Dashboard Confessional, but Hear Me Now makes Dashboard sound like Slayer by comparison. Opening with the sugary “Distance”, the stage is set for a record of heartbreak, sentimental outpouring, and Bieber-esque pre-packaged emotion that makes me wonder who actually puts money behind an act like this. Perhaps Vesely does well because tweens eat this up and their mothers can pretend to be hip by listening to this as they drive to the gym to ogle their personal trainers and escape their otherwise mundane lives. The depth of my hatred for music like this is beyond definition. The more I listen to this, the more I imagine commercials for shows on the WB or other equally mind-numbing slop. Yes, this guy can sing; his voice is warm and he can certainly hit all the requisite notes far more beautifully than I. However, this is predictable and lacks any soul. The breathy vocals on “You and I” or the delicate ”Reach For the Sky” and “Is There Anybody Out There” are laughable in their transparency (the gang vocals on the words “alone” and “home” make it impossible to sit through the latter with a straight face). If you are reading Jersey Beat, you should not be listening to Secondhand Serenade anyway, but should you ever dabble close to the dark side and entertain putting this on, just heed my warning and avoid this at all cost

KLEENEX/LILIPUT - Live Recordings, TV-Clips and Roadmovie (Kill rock Stars Records www.killrockstars.com)

Kleenex, later known to the world as Liliput, had a brief but significant career. This cd/dvd combination traces the early work of the band in 1979, along with a later recording from 1983. The listener (and viewer) is also treated to a series of television clips and the long sought after mini documentary Roadmovie about Liliput. This Swiss, all-female punk act should not be written off as some sort of punk-rock footnote, and that is what makes the release so important. The first ten live efforts from Kleenex are riot grrrl prototypes, as the blue print for acts like Bikini Kill and Bratmobile are heard on “Beri-Beri” and “Madness”. The clanging percussion, raw guitar work, thick bass, and impassioned vocals were all imprints of the female punk revolution which dominated the early ‘90’s. Kleenex was forced to change their name as Kleenex was a brand of tampon in Switzerland, and in 1980 the band was rechristened as Liliput. With the change in name came line-up reshuffling, including the departure of original lead singer Regula Sing. Sing was replaced by Chrigle Freud and the band’s sound changed. The reckless abandonment with which Kleenex played was replaced with a less kinetic and more refined approach. However, tracks like “Do You Mind my Dream” and “Like or Lump It” harkens back to the band’s earlier, more chaotic sound. The band’s propensity to alternate between English and German lyrics can become a bit frustrating, but Liliput will appeal to those who appreciate the work of X-Ray Spex or the Raincoats (a touring partner of Liliput at one time). Liliput incorporate pure rock energy with unique instrumentation, such as saxophone and violin (“Terrified”). Kill Rock Stars has long had an ear for the obscure or underappreciated and this disc is a gift to those who value history and love to see how contemporary bands had their sounds shaped by earlier influences. There are elements of pop, unapologetic punk, and even disjointed post-punk structures. Liliput believed in challenging the listener is the most benign and subtle of ways and this was a wonderful history lesson for me.

The world is bombarded with a great amount of post-punk, but if you are among those who still believe that it can sound fresh and be meaningful, check out the work of Rapid Cities. The band has a typical structure and the usual influences are evident, but that is not always a bad quality. These New Brunswick boys do a nice job of continually alternating tempos and emotional range to construct a dense record that is both animated and articulated. The airy, instrumental interludes of “Dreams of Fahey” and “Asexual Predator” merely buffer the more furious, angular efforts of “In My Mind”, “The NRA and the NWA” and “Space is Infinite”. This is a record that becomes increasingly impressive with each listen, for there is a subtle complexity to what Rapids Cities is doing. They have the ability to generate highly energized, fervent playing complete with muscular guitar from John Terry and impassioned screaming (compliments of the highly talented Cass McGrath). However, they also feature more intricate, challenging elements, and one cannot overlook the combined force of bassist Shaun Senevirante and drummer Anthony Battiato. These guys shine throughout Machinery Saints, but truly excel on “Most of the Time” and the dynamic “Down at the Fleshpot”. This may make people nostalgic for the early days of Dischord, for Rapid Cities sounds like they would have fit in nicely recording at Inner Ear. The complexity of the songs sneak up on you, for once you believe you have figured the band out, they hit you with an anthem like the closing “My Arms are the Anchors, My Legs are the Sea”. The band seems hell-bent to prove that they not only rage with reckless abandon, but will also have an intellect to their destruction. It is not math rock tomfoolery; this is highly flammable power, but I love how the sophistication does not get in the way of the force. Highly worthwhile.

WALTER SCHREIFELS - An Open Letter to the Scene (www.academyfightsong.com)

Can you imagine an acoustic flavored interpretation of Agnostic Front’s “Society Sucker”? If this idea intrigues you, you should check out An Open Letter to the Scene, the startling solo debut from the former leader of Gorilla Biscuits, Youth of Today, and Quicksand (to name a few). The ten efforts here are all a significant departure for a man so closely connected with the New York hardcore scene. The songs on Open Letter are deeply personal and even drop a few names. However, they are primarily sparse, honest tales written with hardcore style seriousness, but played as if Schreifels is channeling his inner Dylan. This is more evident on “Arthur Lee’s Lullaby” and the poignant title track. This is a daring experiment by a skilled crafter of music who is clearly challenging himself and his listeners. Open letter to the Scene is deeply melodic and played with alternating bouts of intensity and delicacy. The majority of the work has acoustic leanings, but it plays out as a modern rock record with folk influences. “She is To Me” is a more pop-oriented, rollicking effort, while “Don’t Gotta Prove It” sounds like the blueprint for a hardcore classic. Schreifels slows the tempo to a painstakingly deliberate crawl on the lush and serene “Shootout”, allowing for his surprisingly warm voice to rise above the genteel, atmospheric playing. Aside for the somewhat snarky “Ballad of Lil’ Kim”, this is a mature, polished record by a long-respected pro who is truly moving in his own unique direction.

CLERIC - Regressions (webofmimicry.com)

This is why extreme music appeals to me-mixing the finest elements of dark ambient noise, ala Merzbow, along with Converge style brutality, Cleric explodes in a swirling mass of crushing force. Listening to “Allotriophagy" is the musical equivalent of having one’s head in a vice-the pressure does not subside as the band’s relentless intensity crushes your skull. Clocking in at over nineteen minutes would normally be too much for me, but Cleric does more with this one song than some bands do in a career. Grind, doom, death metal, and noise all swirl together in an aural bouillabaisse that is intoxicating in its hypnotic intensity. Hailing from Philly and generating this type of music may undoubtedly arouse limitless Genghis Tron comparisons, but there is something more sinister about Cleric. Tron, geniuses that they are, always give me the impression that they are melting the walls with smiles on their faces; there is nothing light-hearted about Cleric. This is unforgiving and unapologetic. Bruising does not begin to describe the raw ferocity that this four-piece spews forth. The music fluctuates between the chaotic and the controlled, between the repressed and cathartic. In the midst of the fury are interludes of more subdued playing which act as buffers between the visceral explosions. Eerie, intricate and consistently unpredictable, Regressions is a monolithic entity of power. Waves of aggression submerge you before the next wave of violence delivers a fatal blow. I was stunned to read that these guys were part of two Warped Tours-skate parks and sun-soaked fields do not seem like appropriate venues for this band. Abandoned psyche wards and slaughterhouses are more fitting. I would be fascinated to witness these guys in a live setting, for Cleric must decimate anything in front of them. The more sinew madness of “A Rush of Blood” or “Cumberbound” will undoubtedly elucidate various responses of either horror or complete adulation. Even after seventy-six face-reshaping minutes, I did not want this to end. This is a band for the bold that enjoy their music to be both aggressive and intricate. Each track is a thoughtfully crafted composition that plays out like demented short stories; you are taken on sonic journeys of terror that are stunning in their barbarism and power. This is a mandatory listen from a band that is shattering preconceived notions of how to define what is extreme.

YEAR OF THE DRAGON - Blunt Force Karma (The International Brotherhood of Consequential Truth www.theibct.com)

This hip-hop infused disc was reminiscent of Infectious Grooves only without the energy. Combining metal, funk, punk, and hip-hop, Year of the Dragon seems unsure of what it wants to be. The larger problem is that once the band settles on a sound, it comes across as terribly forced. The raw language and street manifestos sound pre-packed and lifeless. “Poppin’” falls embarrassingly flat, while “Destroy Your Fear” does not resonate with any honest emotion. This is anger by numbers and it makes for an infuriating listen. The members of Year of the Dragon stumble all over themselves in an effort to pay homage to their influences and they cannot find a working formula. Even the brief splashes of authentic hardcore are monotonous and stunted. This one is worth avoiding at all costs and this is crushing to say, considering that Fishbone’s Dirty Walt Kibby and Tracy Singleton are the brains behind this outfit.

THE LIGHTS - Failed Graves (Wantage USA Records www.wantageusa.com)

The most ear-catching aspect of The Lights is the daring cover of Black Flag’s legendary “Nervous Breakdown”. Rather than recreating the track note by note, the band intentionally slows the song to deliberate pace, with precise, drawling vocals which emphasize every pained syllable. This is a microcosm of what The Lights are a band; three guys with no preconceptions of how to define indie rock. They can be boisterous, such as the crash and pop energy of the opening “Buttons vs. Boulders” or the exceptionally catchy “Puerto Escondido”. Much of the record is energized guitar pop with fuzzy riffs and steady drumming. Failed Graves is not a revolutionary album, but it has its moments of inspiration, such as the more challenging experimentation of the noisy “The Fixer” and the more stripped down “Gineralla”. The record flies by relatively quickly, with most the tracks hovering around the magical three minute mark. At times The Lights are difficult to qualify, which makes them entertaining in my book. These three guys from Seattle take chances with their sounds, and no two tracks on Failed Graves sounds alike, yet they have a collective feel that is uniquely their own. I was intrigued with the force behind efforts like “Monkey Gets the Peach” and “Deathless Distances”, for there is the potential for these efforts to explode within a live setting. There is an underlying force to The Lights, even when they briefly slide into country twang, as on “Famous Gunshots”. This is band to watch; they will not become the next big thing in terms of mass consumption, but in terms of significant indie rock, watch for The Lights.

MONO - Holy Ground: NYC Live with the Wordless Music Orchestra (www.temporaryresidence.com)

This is staggering in its sweeping beauty. Mono is a Japanese act known for incredibly intense shows in terms of the dynamics of their playing, which revolves heavily around reverb, guitar effects, and atmospheric beauty. When this is combined with a twenty-four piece orchestra, the results are majestic, cathartic, and massive in scope. The opening “Ashes in the Snow’ and “Burial At Sea” both clock in over ten minutes, but their intricacy hypnotizes the listener, as the already sprawling soundscape is enhanced by the splendor of the orchestral addition. Although Mono has been around for ten years and has toured voraciously, it is still a complicated act to exactly decipher their music. Magnificent, meandering bursts of guitar fueled noise is a starting point for most, and Holy Ground only accents this power with gentle beauty. It is a rare band whose playing can mesh so seamlessly with a full scale orchestra, and I am highly impressed with the lush arrangements found throughout Holy Ground. The longer tracks are given room to breathe and Mono can fully explore the breadth of their talents, while the more brief efforts, such as the stirring “Silent Flight, Sweeping Dawn” and the nearly whimsical “2 Candles, 1 Wish” become elaborate, highly intricate works. However, it is the elongated tracks that truly captivate me. At over eleven minutes, “Pure As Snow” could become monotonous if handled by less proficient players. Here, the song is a dazzling, complicated, richly textured piece that begins innocuously before building to a rousing crescendo. The painstakingly unhurried climb to climax makes this track an exhilarating experience. “Snow” is rivaled by the duo of concluding efforts, the luminous “Halcyon (Beautiful Days)” and the noisy, shimmering, angular beauty of “Everlasting Light”. This is an exceptionally atypical record and worth doing any due diligence to find. Holy Ground will satisfy your experimental noise rock side, plus give you a little culture at the same time.

WARBEAST - Krush the Enemy (www.thehousecorerecords.com)

I hate using a dated term, but if you consider yourself an “old school” metal fan, get up now and buy this immediately (or just download it, but if you are truly “old school”, you want the record). Warbeast plays thrash metal in a classic form and the best part is that these are not kids dressing up in high tops and denim vests attempting to play thrash by numbers. This is the authentic sound with modern sophistication, compliments of producer and Housecore Records owner, Phil Anselmo. Led by former Rigor Mortis frontman Bruce Corbitt, Warbeast delivers what many neo-thrash acts cannot: a genuine vibe and honesty about what they do. Guitarists Rick Perry and Scott Shelby roar with the precision of classic metal six string duos like King/Hanneman and Holt/Hunolt, while drummer Joe Gonzalez brutalizes his kit. Krush the Enemy opens with the punishing title track, an effort of flesh searing aggression with a sing along chorus. There in lies another difference here-these guys write memorable hooks. You remember the songs well after they conclude. Much of metal has become too focused on either raw speed or unnecessary technical excess. Warbeast takes the best elements of bands like Kreator and early Slayer to craft pummeling and rhythmic fury. The riffage of “The Plague at Hand”, “Scorched Earth Policy”, “Guardian Angel”, or “The Controller” will take you back to Bonded by Blood while also coming across with the energy of new act. The entire disc overflows with incredible power and dynamic force. The opening riff of “Stalker” will be with you for days as Corbitt spits out lyrics of a terrifying nature. Warbeast has the ability to emerge as a significant metal act, for they blend supreme musical aptitude with superior song writing skills. Warbeast could help lead not a revivalist movement, but a full on assault of true thrash. This band will be around long after the pretenders have faded back to their day jobs.

BATUSIS - Batusis EP (www.smogveil.com)

Ok, sometimes, before you even hear a disc, you know you cannot go wrong, and this is one of those rare occasions. The band’s name is taken from the corny yet genius original Batman series which ran from 1966-68. All you little ones, go Youtube “Batusis” and you’ll see a younger, (slightly) more svelte Adam West doing a dance later revived in Pulp Fiction. Hell, I’m already hooked and I’ve only seen the name. The rhythm section is Thommy Price and bassist Enzo Penizzotto, two of Joan Jett’s Blackhearts…but wait….the two founding members are Sylvain Sylvain of the New York Dolls and Cheetah Chrome of the Dead Boys. The disc opens with the instrumental “Blues’ Theme”, a raucous cover of a track first applied to The Wild Angels, a 1966 film starring Peter Fonda as one badass biker. (Find this too, kiddies) The piano-tinged romp “What You Lack in Brains” is a nasty, sleazy slab of old fashioned rock energy laced with biting lyrics and endless attitude: “What’s she lacking upstairs, she’s got under her skirt.” Awesome. “Bury You Alive” allows Cheetah to really shine on guitar and vocals, and the track simply roars with fury. The band recorded this material in a matter of days and the raw power shines through, for the energy is infectious and there is no need for overdubs or studio ticks. The disc concludes with the bruising instrumental “Big Cat Stomp”, drawing to a close one mandatory and magnificent EP. What is most impressive here is that Batusis is in no way a retro sounding act of veterans trying to reinvent their earlier work; the disc is brimming with youthful exuberance and a truly modern sound while still paying tribute to what makes rock so much fun. Go find this immediately.

(DAMN) THIS DESERT AIR - Distance Waits (www.popuprecords.com)

Damn, I like this band. (Damn) This Desert Air offer incredibly harmonious blasts of guitar heavy rock that has enough intricate moments to impress the most fickle of indie fans. The opening “Ghost I Own” is a nice intro for the uninitiated, as the track rattles and crashes on top of itself, yet still possesses incredible self-control. “Trembles” may be the band’s finest track yet, as they slip in and out of heavy guitar force and delicate dynamics compliments of Shawn Reams and John Kohler. Craig Cirinelli has a haunting voice, best explored on the more serene “Made of Gold”, a ballad that highlights the warm tones of his voice without sounded unduly sappy. Granted, it is not my favorite of the bunch, as I lean far more favorably to the faster, more aggressive “Your Atlantis”. This driving effort is commanded by drummer Ti Kreck and the rest of (Damn) This Desert Air balance his blunt force with spacey, ethereal elements, generating passionate rock. The Quicksand reference is thrown about quite often when describing this band, but do not allow yourself to think of this act as clones; they have a refreshingly energized and unique sound that separates them from much of the modern rock being produced. They balance the fragile and the abrasive with incredible dexterity. The closing “Before Sunrise” also embodies the loud/soft dynamic that defines this band’s sound. However, it is not soft verse/loud chorus, as the alternating tones appear at various moments throughout each song, consistently intriguing and challenging the listener. “My hands are weapons” is yelped repeatedly and I can not but think of Repeater-era Fugazi as I hear Cirinelli’s cries. I did not need the remixed version of “Ghost I Own”, but that aside, this is a very strong EP from a band that more people should be listening to right now.

THE MOSES GUN - The Strobe Session (www.myspace.com/themosesgun)

The five songs on The Strobe Session EP create quite a clamor. The Moses Gun blends elements of noise into highly kinetic rock that could be labeled punk if they were not so skilled at their instruments. “Phlox”, like the closing “Million To One”, is a soaring, throbbing track that hits you repeatedly about the head for three minutes before giving way to the slower, thicker, jazz-tinged “Broken Neck”. This dichotomy of sound and styles makes The Moses Gun either brilliant or immensely frustrating, depending on your tolerance for experimentation. I happen to be enraptured by bands like this because their following is intentionally limited and selective. This is anti-mainstream music making and I have immense respect for acts of this ilk. The majority of the work here begins rather innocuously before erupting into something large and beastly. The instrumental “Ashley” follows this mold and the guitar riff is a wall of force before t quietly dissipates into more genteel playing before again rearing its forceful head. “Perfect Weather” breaks the mold a bit by launching itself at the listener before backing off slightly to allow the vocals to have the center stage. The Moses Gun takes traditional rock and stretches it into a multitude of directions, crafting something fun and unencumbered. Even when the lines “I want you, I need you” are uttered in “Perfect Weather”, they are delivered with a passion and a conviction that stops them from sounding stale. Of course, they are also juxtaposed with lines like “I remember pulling splinters from my hands” and “I remember getting high with you.” Some bands are just cool, and The Moses Gun fit that category.

THE Z’S - New Slaves (www.thesocialregistry.com)

Let me state for the record that I love musical experimentation and noise as much as the next guy, if not more. The more angular, distorted, and flat out weird your band is, the greater chance you have of earning my adulation. However, sometimes there can be too much of a good thing. This is my problem with the Z’s-I love what they do, I just do not need it to last as long as it does. Case in point is the title track epicenter of this disc; a swirling, meandering, twenty-minute (!) opus which would have be better suited as a five minute explosion of force. Rather, the track offers each member a chance to shine, but I prefer my cacophonies to remove my head form my shoulders and then leave me for dead. This one is a slow, methodical disembowelment that has elements of undeniable genius, but I get the point. Each track speaks to this same ssue-the bizarre carnival-like atmosphere of “Concert Black” becomes repetitive, but then the band unleashing the clanging, mind-bending brilliance of “Acres of Skin”, a song whose nightmarish atmosphere is as wonderful as its title. The less abrasive “Gentleman Amateur” is as equally stirring as its counterparts, although the band chooses to butcher you more softly before the raw, metallic blunt force of “Don’t Touch Me”. At just over three minutes, it is my favorite of the bunch; the band figures out a formula that works stupendously and they berate you mercilessly. The pain was exquisite. However, this type of aural perfection was too infrequent. I am frustrated by much of this until the closing “Black Crown Ceremony” duo. These two concluding efforts feature jazzy interludes accented by more ambient soundscapes. The result is a magnificent blending of the surreal and the lush, and the combined twenty-three minutes seems to flash by instantaneously. Ultimately, the Z’s are an exceptional act making bizarre, intelligent, and fascinating music. Just leave some on the cutting room floor, guys-there are always box sets to include everything you want.

GRAND ATLANTIC - How We Survive (Laughing Outlaw Records www.laughingoutlaw.com.au)

Coming all the way from Australia, Grand Atlantic are here to reintroduce listeners to soaring power pop you may have thought faded away. If one can imagine the Posies playing with Teenage Fanclub, you have a sense of what this band sounds like. “She’s a Dreamer” is perfectly titled, as the track floats along an ethereal guitar riff, while vocalist Phil Usher emotes effortlessly. There is not must distinction between tracks, and much of the album does move seamlessly from one track to the next, but Grand Atlantic have a sound that works. The title track is too reserved and plodding for y liking, but this stands to be the minority of the work here. There is enough crunch in the form of tracks like “Coast is Clear” and the more rollicking “Holding Pattern” to figure the band for missteps like “Used to be the Sensitive Type”, “These Are the Times”, or the frustrating “Hit N Run/So Cold”. As I listen to this, I remember why I can only take small doses of bands like Stone Roses, Ride, or My Bloody Valentine: a little of this goes a long way. Grand Atlantic is not reinventing anything here, but much of the disc is well crafted, albeit a bit fluffy rock. Not mandatory listening, but if you are looking for something easily palatable with a familiar style, you will not be disappointed.

CHILD ABUSE - Cut and Run (www.lpurecords.com)

Wow…wow…wow. If the name does not hook you, the music certainly will. Child Abuse is amazing! This is not for the faint of heart nor the narrow minded. If you enjoy free form jazz, noise, grind core, or death metal, you will find something within Cut and Run to celebrate. The EP is six burly, eviscerating anthems of raw power in its truest sense. Mixing brutality with chaos, Child Abuse, a mysterious trio of deeply disturbed geniuses, create something jarring and exhilarating. The muffled vocals are reduced to guttural screams and yelps while guitar fuzz, noise, loops, and blast beats simply pummel the listener. The band has toured with the likes of The Locust and Genghis Tron and fans of those acts would be wise to seek out Cut and Run as quickly as possible. Despite all the force and perceived insanity of the music, the six tracks here each possess a unique personality and structure. This is not without its finesse, particularly the measured ferocity of the title track and “Financial Burden”. As with anything from within the noise genre, the initiated or unwilling will simply not comprehend the talent on display, but for those who enjoy damaged art, Child Abuse is band reaching the pinnacle of perfection for what they do. Each moment here is uncompromising, aurally challenging, and expertly crafted. What I enjoy most about Child Abuse is that their music is far more intimidating and horrifying than any reference to gore, violence, or Satan comprised by other bands. The sheer force and relentless viciousness of “Bebe” or “Froze Toes” makes Cut and Run a testament to an unflinching vision. I cannot even imagine the power of these guys in a live setting.

MEDICATIONS - Completely Removed (Dischord records www.dischord.com)

Five years removed from their debut release, Medications return with a sweeping, complex record that is equal part pop harmonies and unconventional art-punk. The vocals on “Long Day” are quite sweet as they frolic over the top of an awkwardly melodic guitar riff. The balancing act of controlled beauty and off-kilter aesthetics makes Completely Removed so interesting. Chad Molter and Devin Ocampo, who previously worked together in Mary Timony band, utilize a long partnership of collaboration into the construction of a swirling array of atypical pop. “Seasons” channels the Beach Boys as much as any indie punk act, while “We Could be Others” has soaring harmonics with interludes of off-putting silence. Medications’ playing is both warm and unsettling, for there are instantly memorable hooks, but each track also features a unique arrangement that helps to define a wholly original sound. While usually a traditional drums and guitar band, Medications offer enough experimental elements to continually keep the listener engaged and curious about what is coming next. The jazzy “Brazil ‘07” is among my favorites here with its hushed vocals and intricately placed horns. It stands in contrast to the initially more bombastic “Kilometers and Smiles”, a more straight ahead rock anthem sans lyrics which also includes Beatles-esque harmonies. The constant dichotomy of Medications makes this a challenging yet ultimately richly rewarding listen.

ANCHOR ARMS/ MADISON BLOODBATH – 7 inch EP (kissofdeathrecords.com)

Anchor Arms delivers a crisp sounding punk nugget with very distinctive pop overtones on “High Noon”. The song was solid but not remarkable. I was far more impressed with the faster, nastier, much more abrasive nature of “The Body System”. If this is any indication of what lies inside the members of this band, the future could be bright. Kiss of Death did a nice job pairing Anchor Arms with Madison Bloodbath, for the bands share various similar traits. Madison Bloodbath features guitar work that was a bit more consistently rugged that what was heard on the A side. This is straightforward punk fare without any frills any type of “core” tag. Its simplicity is refreshing and both bands combine for a solid split.

FELLOW PROJECT / JONESIN – 7 inch EP (kissofdeathrecords.com)

The Fellow Project may be the most interesting act on the Kiss of Death label. This three piece plays off-kilter rhythms with a very unique sound. Tia’s backing vocals were the hook for me here; I loved the complexity of the work from this young band. “Till it Becomes Us” could fit in with anything on Dischord, while “Hard to Back” puts a new spin on pop harmonies. This is an interesting trio and one worth watching. Conversely, Jonesin’ is another likable but not retainable punk act. “Knee Deep in Spite” was played with tangible angst, juxtaposed with its surprisingly melodic nature. “I Wish the Sun was a Giant Pizza’ is a good tune, despite its regrettable title. The playing is raw, and the band is earnest. I think I need to hear more from this band because there is talent within the fuzz.

STOLEN PARTS – 7 inch EP (kissofdeathrecords.com)

Stolen Parts presents four tracks of gruff punk energy. The vocals are gritty and they interact well with the thick grooves of “Anonymous” and “You Don’t Know”. The band goes off on a bit of a limb with the fairly obscure Jesus and Mary Chain cover of “Between Planets’, but they make the song sound like their own. If you did not know it was a cover, one could assume it was another original from this upstart four-piece. Each song was a driving, mid-tempo pace that never spun out of control or became too repetitive. I was initially impressed by the vocals and then swayed by the guitar playing. If you are looking for yeoman-like punk reality, check out Stolen Parts.

WELCOME HOME WALKER - “Watch Your Step” b/w “The Untold Death of Grady Jones” 7-inch (Boogiecreekrecords.com)

Sometimes, you just have to wonder. From the faux-Beatles, circa Yellow Submarine cover to the nondescript pop which lay inside, I was confused and then annoyed by Welcome Home Walker. Both tracks sound like some sort of 60’s throwback, but to what they are throwing back, I have no idea. I was bored senseless by the meandering “Watch Your Step”, and before I could spend a minute finding out about Grady Jones’ death, I was feeling burned out. I do not know the clientele of Boogie Creek records or their target audience; all I can be sure of is that I am not it. This is empty, bubblegum pop.

TUBERS - Anachronous (No Idea Records www.noidearecords.com)

Maybe it’s the Florida heat, or the humidity, or the insects, or the fear of alligator attacks. Whatever it is, America’s haven for overpriced vacations and aging New Yorkers produces some pretty cool music, and you can add the Tubers to the list. Initially, Rich Diem’s vocals seemed to be a bit too forced for my liking, but his strained voice grew on me by the third listen to this disc, and I found myself intrigued by the group dynamics of this four piece, particularly when the guys shout together in perfect congress. There is a lot of noise here with some surf-rock overtones, but this is not beach music. The dual guitar playing of the aforementioned Diem and Matt Sweeting make for angular, challenging riffs that will remind some of acts such as Fugazi or Drive Like Jehu. The opening trio of “High Tide, It’s Inside”, “The Expense of Flight”, and “Coconut Thunder” make for a strong opening, but the most dynamic tracks are saved for later in the record. Anachronous improves as it plays with highlights coming in the form of “Small Signs, Big Posts”, “These Quantum Leaps are Killing Me” and the closing title track. Diem and Sweeting rightfully attract most of the attention here, but do not sleep on the work of bassist Jeff McNally and drummer Jacob Hamilton. Their ability to hold flawless time allows for the two guitarists to tinker with start/stop aesthetics and more experimental stylings. Much of this is a fierce, taxing collection of songs, but the Tubers display a pop knack on “Pale Sunbather”, a more harmonious, less atonal assault upon the senses. This is not easily palatable, which is why I like it, and the Tubers are worth your time.

VINCA MINOR - Isolation (www.vincaminormusic.com)

PIANOS BECOME THE TEETH - Old Pride (TopShelf Records www.topshelf-records.com)

JUDGEMENT DAY - Peacocks/Pink Monsters (www.stringmetal.com/judgementday)

SNACKTRUCK - Spacial Findings 1-7 (www.noidearecords.com)

HOPE LANE IS A DEAD END - Illuminate (www.myspace.com/hopelaneisadeadend)

Hope Lane plays melodic hardcore that is solidly delivered, particularly when they focus on the heavier aspects of their sound. The opening “Taking Flight” is a bruising effort that features backing vocals that detract from the general intensity of the work. However, the more aggressive “Up to our Necks” and the furious “Botched Blueprints” display how much potential these young New Englanders have. “Quotients” is the most unique track musically, as it varies between punishing and technical guitar playing from Josh Bodah and Dan Evans. Conversely, “1984” simply attempts to decimate the listener with sheer brutality. Dave Douchette’s vocals soar with a combination of raw force and harmony, with “Ten Times Platinum” as the best example of this kid’s verbal acrobatics. Drummer Nick Diminico and bassist Joe Mcintosh are a formidable rhythm section that carries each tracks on their collective backs. Once you move past the opener, Hope Lane has put together an impressive effort.

OUTBREAK - (Think Fast Records www.thinkfastrecords.com)

This makes old timers like me get fired up and should get the kids going crazy. Outbreak offers ferocious hardcore in a classic style. Each of the fifteen pieces is delivered with breakneck rapidity, and at times the songs can actually be too brief. (“HL” and “Human Target” in particular), but efforts such as “Temporary Hype” rage with more musical sophistication, while “Digital World” has a classic breakdown that is pure hardcore excellence. The shout along vocals of “Analyze/Criticize” will strip paint and I was left in awe of this band. The blinding speed of “Multiple Personality Disorder” and “(Work)ing Dead” will elicit references to any number of luminary hardcore acts for these guys were clearly raised on the classics. The thick groove of “Too Paranoid for Politics” assists in the creation of an infectious chorus. There is nothing flashy or overly sophisticated here; Outbreak simply rears back and lunges itself at you as one cohesive musical force. I would have to imagine these guys must be incredible live.

VINYL

AIRFIX KITS - “Playing Both Sides” b/w “Leaving” 7-inch EP (Dirtnap Records www.dirtnaprecs.com)

Airfix Kits contribute two very tight pieces of guitar rock with snarled vocals and a cool, throwback vibe, ala Mission of Burma or Gang of Four. Both tracks have a similar sensibility, with the A side being a bit stronger. “Playing Both Sides” has a more memorable hook than the noisier, more angular “Leaving”. Both efforts come and go quickly, and if you are a fan of post punk’s first wave, you may want to check this out.

COCONUT COOLOUTS - “The Last Man You Will Ever See” b/w “The Monsters Crash (The Regular People’s Party)” 7-inch EP (Dirtnap Records www.dirtnaprecs.com)

A few months late for Halloween or maybe really planning ahead is Coconut Coolouts. This act plays 60’s garage surf punk that happens on this release to ahev a Halloween theme. This reminded me of great 90’s indie surf acts like man or Astroman?. for Coconut Coolouts play a brand of fun, harmless surf that is groovy and intentionally lo-fi. The B-side gets a little goofy when the monster voices come in and take over the party, but these guys are clearly having fun, so I’ll give them a pass.

GOODNIGHT LOVING - “Nothing Conquers Us” b/w “Scary Bad” 7-inch EP (Dirtnap Records www.dirtnaprecs.com)

Sounding like band that could have played alongside Carl Perkins, Goodnight Loving has an innocence about them that is both earnest and honest. With a 50’s garage sound merging with a hefty dose of Merseybeat, Goodnight Loving will attract old time pop fans with the hook friendly “Nothing Conquers Us”. The down home goodness of “Scary Bad” was equally palatable, but the A-side was the more memorable of the two efforts for me.

FACE VALUE - Rode Hard, Put Away Wet: Clevo HC 1989-93 (Smog Veil Records www.smogveil.com)

If you were not in Cleveland in the late 80’s and early 90’s, and I was not, you missed a classic DIY hardcore act. Rode Hard, Put Away Wet is a monstrous, 31 song, hour-long collection of three LP’s and one demo put out by Tony Erba and his mates in Face Value. I remember hearing about these guys while a dopey college DJ, but listening to it so many years alter puts this band in clearer perspective; this is amazing hardcore energy at its most pure. The guitar playing of Anthony Brown is heavy and brisk, while the rhythm section of bassist Tony Hinton and drummer Scott Doland allow the band to range from thick and punishing to awe-inspiringly fast. The collection actually begins with the band’s 1991 LP, The Price of Maturity, and moves back to 1990, before jumping ahead to 1993, and then concluding with the band’s first demo in 1989. Throughout the compilation, one hears the progression and refinement of raw energy and commitment to a sound. All sixteen tracks on the 1991 classic are fantastic, but my fists were flying to “Men From the Boys’, “Naiveté”, “Torn Up” and “Emotional Addiction”, but everything is great. The Coming of Age tracks are a little faster and more one dimensional, but the shout along breakdowns on “Can’t Take Much More” or “Holding the Grudge”, and the blinding speed of “Nothing to Prove” are just furious. I love every second of the first nineteen tracks, and then comes the heavier, more melodic Kick It Over record from 1993. This four song barrage is highlighted by the band’s most daring work, the seven minute long “My Brother’s Keeper”. This track features several shifts in tempo and ferocity as well as a lengthy solo and clearly displays a more mature and experimental side of the band. Face Value evolved quite considerably in just a few years and this is the best example of this increased proficiency. It is even more striking when juxtaposed with the band’s 1989 demo. The “Clevo Hardcore” five song demo is pure youthful exuberance. The quality is rough and the playing borders on the chaotic; it is short, it is amazing and I love everything about it. “Someday” is relentless in its attack, and this intensity is matched by “Help Yourself” and “Coming Back to Haunt You”. Occasionally, retrospectives attempt to exaggerate a band’s legacy or significance, but every syllable of praise lauded upon Face Value is deserved here. If you missed them or just miss them, pick this up immediately.

ESPRIT DE CORPS - Under Constant Influence (www.myspace.com/theedc)

Esprit De Corps are going to impress a great many people with their brash, swirling sound. Under Constant Influence is a five song explosion of musical substance with Chris Gardner’s vocals out in front of an impressive act. “Wild Herb” includes shout along break downs accented by subtlety by keys from Alex Cutbirth. In only fifteen minutes this band delivers more than most can do in an hour. When Gardner screams “You’ll never find another boy quite like me, I promise you that’, he makes his resentment, anger, and sorrow tangible, while he and fellow guitarist Gordon Joines produce a crushing wall of force. Love, or at least the pain it brings, is a reoccurring theme, as the band emphasizes loss and agony on several tracks. “On Conquering” includes the line “And I said it to you too, I said I love you”, a line that would be innocuous enough if it were not for the post-hardcore fury being generated behind it. “Forget the Titanic, We Sink Faster” begins with a rousing yelp of “we’re fucked”, and Gardner does not let up as he dismantles a former relationship. “We were only eighteen/fucking eighteen/You promised you’d love me/I don’t care if you were young”. This is extraordinarily smart punk with a dynamic aura and technical finesse. If you are yet to experience this ac, I suggest you do it immediately.

THE HIT AND MRS. - Ashes of Bridges (www.thehitandmrs.com)

This Ohio three piece play a distorted brand of alt-folk rock that is solemn and features an understated intensity. “Cold, Cold Days’ and the title track are well constructed pieces that are bluesy and ambient, particularly the latter. Nelly’s monotone vocals do not offer much in terms of range, but he says quite a bit with his delivery. The songs on Ashes of Bridges range from dour (“Time is Running Out”) to downright poppy (“Shame”, “My Poor Grammer”, “Come on Baby”), but the guitar playing of Nelly allows for each track to have a distinctive personality. The aggressive “Let It Ride” is my favorite of the bunch, for the track features a dirty riff, a great opening howl, and lyrics like “you shirt’s undone/ it’s taking my libido for a run”. V.Stak leaps off the record as a powerful and expressive drummer, best heard on “Saint Maria” and “Out of My Life”. Anchoring these unique visions is the bass playing of Bubba whose backing vocals offer a level of warmth to the playing. The Hit and Mrs. Is comprised of three solid players who sound like they are having a lot of fun borrowing from various influences to create something unique. The closing “Alone Forever” is a fitting bookend for this disc, as the band returns to its methodical, blues-inspired playing, before concluding with a mass of speedy noise. The closing cacophony of chaos is representative of the band as a whole; the listener has no idea what is to come, but it is usually something very cool. (“Alone forever/ and so goddamn happy”)

SUPER 400 - Sweet Fist (Response Records www.responserecords.net)

Super 400 celebrates and pays homage to the true legends of rock throughout their twelve song effort, Sweet Fist. Fans of Led Zep, Cream, and the Yardbirds will adore every second of this disc. The soaring “Another Heavy Wood”, the bluesy “Sand Hill” and “Thought it was the End” and the rugged closer “White Bird” are all gems on this disc. Only a trio, the band’s airtight playing is reminiscent of the heyday of power rock, such as “Dreamboat’ which sounds like Bad Company, circa 1975. The rambunctious cover of Carol King’s “I Feel the Earth Move” was a wonderful surprise and is incredibly radio ready, but programmers would be wise to give a chance to any of the tracks here. The vocals of Kenny Hohman are warm and resonate with power, while bassist Lori Friday takes the helm for the empowering “Flashlight”. The band can alternate between high octane rock energy and more subdued beauty, such as the lush acoustic “Devil Song”. This was a very pleasant find.

VENDETTA AGAINST - Shifty Eyes (Tasty Treat Records www.tastytreatrecords.com)

Vendetta Against offers pieces of sardonic folk punk in which they rip the modern society in which we wallow. “Gekko Rides Again” opens with the phrase “I want a bailout/gimme some money”. The band uses simplistic riffs to say quite a bit. “No Time to Lose” addresses the blind nature of the news watching public and reminds people that “you are just a tool/ignorance is cruel.” The songs are very quick, with only one of the four efforts clocking in at over three minutes. My personal favorite is “What I’m Grateful to Forget”, for the chord progression reminds me of “Forming” from the Germs. I am taken by the closing “Fallout Crunchies”, another sarcastic take on the state of the world. (“Get your politics from cartoons and celebrities/Always heed the words of TV personalities”) This is not revolutionary music, but it is a fun listen. It may not stay with the listener very long after hearing, but Vendetta Against are not out to reinvent rock music; they are using a straight forward approach to express ideas with which many of us would most likely agree.

WORN IN RED - In The Offing (No Idea Records www.noidearecords.com)

THE DIMES - The King Can Drink The Harbour Dry (Pet Marmoset Records www.petmarmoset.net)

Being both a New Englander and a history teacher, I am instantly intrigued with the American history primer that is the Dimes’ The King Can Drink The Harbour Dry. With twelve songs about different eras of Boston and some of the city’s more interesting characters and locations, this belongs on the History Channel as readily as your stereo. The music played by the Dimes perfectly mirrors the times they describe; lush, sweeping melodies seemingly arrive from a different point in history, while vocalist Johnny Clay croons with warmth rarely heard. The Dimes are a beautifully articulate folk band with elements of pop which distinguishes them from other acts of this ilk. The songs move along briskly, with the Dimes offering a cheat sheet of significant people and events in American history. The Great Boston Fire of 1872 is summarized in “Damrell’s Fire’, while Clara Baron (founder of the Red Cross) is referenced in “Save Me, Clara”, as a wounded Civil War soldier calls out to be rescued. Haunting and poignant, the Dimes construct a richly textured record of complex harmonies and gorgeous arrangements. There are light hearted pieces, such as the sweet “Abigail”, a track about Abigail Adams, wife of one president and mother to another, and the closing “Boston (Trimountaine)”, which provides listeners with a musical walking tour of the city. I am attracted to the darker tracks here, such as”Charles Street”, which depicts one of Boston’s more famous and notorious prisons, which is now a magnificent hotel, “Webster Thayer”, one of the most infamous judges of the twentieth century; he was responsible for the decision to execute Sacco and Venzetti, two Italian immigrant anarchists accused of murder, and “Lovely Mary Dyer”. Dyer was hanged for standing up against an anti-Quaker law in Boston. (Massachusetts Bay being a strictly Puritan colony at the time) The Dimes display their staggering appreciation for Boston on “The Ballad of Winslow Homer” and “Celia’s Garden”; the latter describes a stunning painting by Childe Hassam of Celia Thaxter. These are not your typical song topics, and one will learn quite a bit while also being swept away in the musical majesty. I am greatly impressed with this, for all of this New England lore is delivered by a band from Portland, Oregon!

SURFER BLOOD - Astrocoast (Kanine records www.kaninerecords.com)

From the opening riff of “Floating Vibes”, you are hooked by the infectious playing of Surfer Blood. With both bubbly guitar playing that seamlessly morphs into noisy bursts of force, this is a band of youngsters who are rejuvenating the art of indie rock. The fuzzy, bouncy “Swim (To Reach the End)” reminds one of former classics like Archers of Loaf or Sebado, but these kids are refreshingly contemporary as well. The drums crack and the guitars surge over you in a wave of power before giving way to a huge, sing along chorus. The soaring guitar work on the instrumental “Neighbour Riffs” blends effortlessly into the raucous “Twin Peaks”. This raw nugget includes a break down that will leave the listener stunned and wildly impressed with the band’s versatility; they provide bass-heavy, African flavored stylings in the track and it is superb. The warm harmonies “Fast Jabroni” are contrasted by the lo-fi “Slow Jabroni”. The latter still manages to allow the harmonics of vocalist JP Pitts to fight through a wall of distortion. At nearly six minutes, this track rivals some of the best work of Teenage Fanclub or Ride.
This is an interesting interpretation of what pop music could be, for one has to do a little heavy lifting as a listener to fully grasp Surfer Blood, but Astrocoast is fantastic from start to finish. The crisp “Anchorage” includes a sterling drum sound and more guitar force while Pitts wails, “I don’t spin my wheels/I got no wheels to spin”. The closing “Catholic Pagan” is a rollicking track about giving up cocaine and having the whiskey shakes. These are not your typical indie rock song topics, but this is not your typical band. Go out and snag this right away while Surfer Blood can still be your little secret. The world will soon hear from these guys.

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