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THE QUINLAN CHRONICLES - Reviews by Rich Quinlan
FLIPPER
– Fight / Love (www.MVDaudio.com)
Fight and Love see the return
of the seminal early 80's hardcore pioneers
Flipper with the special addition of Krist Novoselic
(you know, from Nirvana). Fight is
a live recording that gives a great overview
of Flipper’s brilliant yet tragically
underappreciated career. Opening with the sardonic
line, “we’re a band, are you an
audience?”, Bruce Loose and the guys tear
into “Way of the World” and “Shine”,
two old gems from Flipper’s early days.
Fight is an ideal primer for all types
of Flipper fans, both the
old and the very new, for there are a number
of cuts from their latest release, Love,
including the biting “Be Good, Child!”
Other dusted off nuggets include “Ha,
Ha Ha”, “Sacrifice” and the
closing noise-fest “The Lights, The Sound”.
The heavy low end of Novoselic and drummer Steve
Depace carry this sonic extravaganza, while
guitarist Ted Falconi shines on all songs, particularly
“Triple Mass” and “Night Falls”.
Having missed Flipper in their earliest inception,
and really only being introduced to them through
Kurt Cobain’s choice of t-shirts, it is
a pleasure to hear this band back with such
ferocity. The thick sludge of “Why Can’t
You See” from Love is a punishing, meandering
effort that accentuates Loose’s gruff,
pained vocal delivery and Noveselic’s
melodic and recognizable bass work. Recorded
and produced by legendary Jack Endino, Fight
is a flawless live effort from a band that is
not a nostalgia act, but still very much a viable
musical force.
Love, a new recording, proves this
to be true with a collection of ten thunderous
tracks. The closing “Old Graves”
is bruising as it crawls along, dragging the
listener through broken glass as it travels.
This is a deafening compilation of force from
a band that proves that one can age gracefully
and angrily, for Love is a groove-heavy,
hook-rich record. "Transparent Blame”
rolls and rumbles with unstoppable force, while
“Live Real” could teach modern punks
how real racket should sound. The years have
been good to Flipper as they sound energized,
youthful, and angry on Love, and despite
its comforting title, there is nothing that
connotes images of relief or warmth here. Novoselic
is a welcomed addition and his bass is featured
prominently and with good reason, his bass lines
are the backbone for such highlights as “Love
Fight” and “Night Falls”.
Sadly, however, he will not be on tour when
flipper takes their madness on the road. Love
reestablishes Flipper as a band of critical
importance. Hopefully, they will stick around
bask in the glory they so richly deserve.
TERRY
ANDERSON AND THE OLYMPIC ASS KICKING TEAM -
National Champions (DoublenaughtRecords.com)
Twangy, Southern-fried, and rollicking rock n
roll dominates a wickedly fun, smile-educing record
from Terry Anderson’s Olympic Ass-Kicking
Team. This is no frills rock n roll played in
the purest sense of the word. The fun “Goin’
or Comin’” kicks off the record and
the track is infectious. Fans of Petty or Springsteen
will adore the earnest songwriting on slabs of
Americana such as the anti-Barry Bonds “Willie
Mays” (You’re not half as cool as
Willie Mays”), “Is We or Ain’t
We” and the hard-hitting guitar rave-up
“Pow’ful ‘Merka”). The
country-flavored “You Had me at Get lost”
is hilarious take on a miserable relationship,
featuring lines like “That restraining order
really got me hot”. Terry Anderson’s
warm vocals and steady drumming are the epicenter
of the band’s sound while rich backing vocals
make each track a densely textured slab of big
hooks and contagious choruses. The bluesy “Found
Missing” perfectly embodies the band’s
love of rock’s earliest influences, while
also providing a renovation of the classic sound.
Some of the slower pieces, notable “Wrong
for That” and the closing “Feel right
Now” did not work for me, but when the guys
plug in and elevate the intensity, as they do
sporadically throughout the record, I was hooked.
This is an old fashioned driving album in which
each track will help the miles pass more quickly.
Pick this one up.
NECKTIES
MAKE ME NERVOUS - (“I’m the Captain
and I’m Telling You) This Ship is Fucked"
7-inch EP (Code of Ethics Records)
Neckties Make Me Nervous create a gem of a
second release with (“I’m the Captain
and I’m Telling You)This Ship is Fucked,
a five track collection of speedy punk with
a limited production quality but limitless passion.
“Kids do the Darndest Things (When They’re
Totally Fucked” and “Liberty Street”
feature scathing social commentary wrapped around
angry riffs. (“You better hope you’re
white in the red and blue lights”-“Liberty
Street”) “Hopeful Arrows”
is another charged piece of contemptuous social
observations, this time about war and poverty.
Huge, sing along choruses and chugging guitar
work swirl around a bruising rhythm section
to create exactly the type of music I adore.
The band’s reflective, honest lyrics are
steeped in reality; there are no happy endings,
but no one here is whining either. The abrasive
hardcore of the closing “Apartments”
is a perfect conclusion to an already damn near
perfect effort. An unflinching look at domestic
abuse, the track includes raw vocals and furious
playing. The guys here go five for five on this
release; a rare feat and a band worth celebrating.
THE
BLACKOUT - The Best In Town (Epitaph.com)
I get a little nervous when bands are described
as the “hottest new” something,
but The Blackout lives up to the hype. This
is one of the most promising acts to come out
of England in a very long time. Dual vocalists
add great depth and intensity to the majority
of the work on The Best in Town, as immediately
illustrated by the bruising opening “Shit
the Fuck uppercut”. The band displays
a multitude of personifies here, ranging from
incredible melodic and pop oriented to furiously
aggressive. There are straight ahead rock anthems,
such as” Save Our Selves” and the
radio ready “said and Done”. The
former includes a harmonious hook that buries
itself in your brain, while the later benefits
from excellent guitar work. The title track
is slightly too poppy for my taste, but the
band quickly make sup for it on the belligerent
“The Fire”, the thunderous “This
is Why We can’t have Nice Things”
and the closing gem, “We’re Going
to Hell…So Bring the Sunblock”.
However, the stand out anthem is the staggeringly
unforgettable “Children of the Night”.
Despite a title that may be confused with something
from Dio, “Children” is a punching
track that will lure you in with a rich melody
and then overwhelm you with force. This is bandwagon
worth jumping aboard right now.
TENSION ENVELOPES (For The Ear Records)
The Tension Envelopes are from New Jersey.
I was able to find that they are also a very
lo-fi, fuzzy power-pop band that remind me of
early Dinosaur Jr. The trio blends discordant
pop and a steady rhythm section to sound like
shoegazers such as Ride or Teenage Fanclub on
a sugar rush. The guitars pop on “Telescope
“and “The Imagineer” are warm
and densely textured. The latter features wistful,
pixie-ish female vocals compliments of D. Heilman
and a rollicking bass line from Billy Rubin“.
Misty Slurs” is a speedier track driven
by an almost hyper-kinetic drum beat and melodic
vocals. “On the Top of the World”
is a slightly more aggressive piece with Pete
delivering melodic, yet monotone vocals, accented
by lush female background accompaniment. The
concluding “Your Favorite Martyr”
is again carried by Heilman’s singing
and warm guitar playing. This is the type of
band that still has room for growth, but I guarantee
they would light up a small club.
THE
COLOR OF VIOLENCE - Youthanize (www.epitaph.vcom)
The Color of Violence attempts to make the
sound of organized chaos. Youthanize is a polyrhythmic
explosion of force that features members of
From First to Last (Travis Richter and Derek
Bloom.) Unfortunately, this is not anything
revolutionary in terms of grind core. The disc
is part grind, spazzy, math-core and even some
unapologetic noise. I give the boys credit,
as they open with a Pixies cover (“Rock
Music”) before attempting to intimidate
on “Large Hardon Collider” and “Me
and My Enormous Spiritual erection”. Coming
and leaving in what seems like mere seconds,
each track is a test of endurance for the band
but this does not compare to the likes of Cripple
Bastards, Agoraphobic Nosebleed, or Magrudergrind.
“Crapandemic” and “Exen I
Use to be Sex” are interesting and should
hold one’s attention, but does not leave
me battered and bloody like real grind should.
The obligatory bonus track takes the band in
a very different direction musically, but I
become disinterested fairly early. This is not
weak by any stretch, but it simply does measure
up with the true leaders of grind bedlam.
MEAT
PUPPETS - Sewn Together (www.megaforecerecords.com)
The classic country rock stomp sound of the
Meat puppets dominates Sewn Together,
giving it a down home sensibility. This record
will remind fans of the glory fays of the Puppets
as well as acting as a wake up call for those
who may have missed them. The smooth, breathy
style of “Blanket of Weeds” and
“Sapphire” are two highlights for
me, with the latter’s delicate lyrics
resonating in my head. (“Let’s fly
off together/I’ll love you forever”)
Gentle piano accents “Clone”, while
the ethereal, laid-back “Smoke”
is just a beautiful piece of musicianship by
the Kirkwood Brothers. The band can still play
pop with an edge, as they do on “I’m
Not You” and “Nursery Rhyme”,
the latter possessing a fuzzy underlying riff.
“The Monkey and the Snake” has a
light-hearted, honky-tonk feel to it, while
“S.K.A.” is slightly darker in nature,
and the dichotomy of sound here reveals the
vast talent still present in the Meat Puppets,
making their reunification in 2006 more about
creating great music than nostalgia. This is
a solid, highly diverse, and majestic release
from a band that always deserved more acclaim.-Rich
Quinlan
PRETTY
WHORES - Teens of USA (www.prettywhoresmusic.com)
I am in love! “Teens of USA” is
one of the most enjoyable anthems I have heard
in ages-just pure fun, garage rock energy. Imagine
the New Bomb Turks jamming with Damaged-era
Black Flag and you have a semblance of what
pretty Whores sounds like. For anyone who questions
the vitality of rock n’ roll, they should
crank up “No Control” or “When
Are You Going to Start to Study?” for
an injection of infectious, kinetic vigor. Unadulterated,
unpretentious anthems abound on this eight-track,
self-released effort. Granted, some of the songs
begin to sound a little similar, but it is a
sound worth repeating. Anton, Viktor, and Viktor
create a massive wall of force, full of rollicking
hooks and surprisingly harmonic vocals. The
bass lines of the aforementioned “Study”
and “Midnight Showdown” lead to
huge riffs and great sing along choruses. This
band returns to the core of rock music-namely
relentless fervor and Pretty Whores eschews
any forced labels. This is pure rock done with
a brilliantly controlled recklessness, sounding
like a 21st century MC5 on “Part of the
Scene” and the closing “My Hometown”.
These guys deserve to be huge.-Rich Quinlan
WITCH
HUNT - Burning Bridges to Nowhere (www.alternativetentacles.com)
Witch Hunt helps to announce a renaissance
for Alternative Tentacles in my eyes. Male/female
vocals soar over violent, at times even grind
core style playing. The call and response vocals
on the opening “Blind Eyes Blind Lives”
introduce a series of skillfully delivered punk,
overflowing with raw emotion and intense playing.
The intelligent lyrics (see specifically “Counting
Down the Days”, “Silence””
and “Treadmill March”) and crushing
grooves (every song) which dominate the record
separates Witch Hunt from lesser competitors.
“Septa Death” and “Sick Industry”
are two more fast-paced, flesh tearing anthems
that are perfectly juxtaposed with the sludgy
“Void” and the Zen Arcade style
of “A Slow Decay”. The diversity
of the playing keeps this continuously interesting
as the band seems to reinvent itself with each
passing track. Janine and Nicole Enriquez share
vocal responsibilities with Rob Fitzpatrick
and each bring a unique style and level of intensity.
There are moments of warm harmony, such as ”Everyday”
and “Plastic Dream”, which fight
to exist within the waves of aggression. This
is a great release.
BELLINI
- The Precious Prize of Gravity (www.temporaryresidence.com)
With Steve Albini turning the knobs, I can
always rest assured that the finished product
will be impressive, and Bellini’s The
Precious Prize of Gravity certainly fulfills
my expectations. The rugged, time-bending beats
of “Waking Up Under a Truck” set
in motion a hard-hitting, thunderous, 10-song
release. Giovanna Cacciola’s voice is
haunting, particularly on the angular, start/stop
rhythms of “Susie”, when she warns,
“You don’t know me, yet!”
There is a dark. ominous tone throughout the
record, as mesmerizing instrumental “The
Man Who lost His Wings”, the lush “The
Painter” and the closing “A Deep
Wound” all resonate with deep emotional
conviction trough war, albeit challenging, guitar
and intricate rhythms. The apex of the band’s
prowess comes on “The Thin Line”.
Dedicated to a lost loved one, the recurring
refrain of “It’s not hopeless”
is a gut-wrenching masterstroke that reflects
the brilliance of the record as a whole.
CROSS
STITCHED EYES - Coranach (www.alternative tentacles.com)
This is why Alternative Tentacles is such a
legendary label: Cross Stitched Eyes is a classic
agro-punk band that harkens back to a simpler,
angrier time. Guitarists Tim Crow and Kris Hutto
would make East Bay Ray proud on songs “Cross”
and “Eyes”, while a Killing Joke
influence shines through on “Rot”
and “Suffer”. The fast, incredible
tense “Face” and “Substance”
are tightly coiled ferocity that teeters on
the edge of chaos. Even when the band locks
into a great groove, such as ”Stitched”,
the band still sounds as if they could explode
into chaos at any moment. Each of the fourteen
efforts are short, terse, passionate pieces
that inject new life into a style that has been
sadly ignored for too long. Every second of
this disc is perfectly played and there is not
a wasted note. Find this immediately.
THE
PICTURE – “Bluebirds” EP (www.thepictureonline.com)
This band could be big: they are a radio programmers
dream if you are running station that caters
to bands who plays it safe but has immense talent
and just enough pop-rock goodness to keep it
from being boring. Coldplay and U2 fans alike
will salivate over the opening “Another
Army” as vocalist Robert Abel channels
his early 80’s Bono while Chris Buckle’s
piano helps to illuminate the track. “The
Shadows” opens with a quasi-dance beat
with stirring keys and enough ethereal guitars
to hold your attention. The mainstream rock
of “Battling Giants” may be the
best single of the bunch, as the guitar work
is finally allowed to take center stage. The
latter portion of this disc continues this trend
with “Deer Crossing” and the closing
“Devious”. I was impressed with
this, but The Picture is just too commercial
for my liking. This has the potential to be
a cross over success, but I will not be among
those buying.
THE
DAREDEVIL CHRISTOPHER WRIGHT - In Deference
to a Broken Back (www.ambledown.com)
Beautiful strings, soaring vocals, and oft-kilter
musicianship highlight a quirky, eclectic, but
unabashedly catchy effort from The Daredevil Christopher
Wright. The opus “The East Coast”
is a multi-leveled, richly textured gem accented
by violin and magnificent harmony which suddenly
shifts gears, much like the life it details. This
combination of several songs in one occurs throughout
the disc. Even the more conventional “Clouds”
has a multitude of tales to tell and styles to
display. The Daredevil Christopher Wright write
stories about the less glamorous, but entirely
human aspects of life, such as ”A Conversation
About Cancer”, the twisted love tale of
“We’re Not Friends” and the
gentle tones of “War Story”-a song
of stolen styles, broken arms, and dead singers.
The melancholy title “A Near Death Experience
at Sea” belies the swinging tempo and gleeful
vocals that makes it irresistible. A similar sound
is heard on a track bearing the band’s name
de plume. This is a story of a man dying in an
attempt to excite people, but the band investigates
the darker side of human nature with serene acoustic
guitar and violin. This is not my favorite style
of music and I would not normally seek this out,
but I am lucky this fell into my hands, for I
feel better for having an opportunity to listen
to this.
JOHN
DOE AND THE SADIES - Country Club (www.yeproc.com)
Oh, the drunken promise. We have all made them,
but have your drunken promises ever materialized
in to a collection of country classics with
a few originals sprinkled in for flavor? Of
course not, unless you are John Doe, whose inventive
punk work with X and solo work always challenged
conventional thinking. Doe approached the Sadies
backstage one night about creating a country
record, and the result is Country Club; fifteen
tracks of pure country goodness from well known
giants of the genre, as well as a handful of
work from Doe and his friends. Even if names
like Merle Haggard (“Are the Good Times
Really Over for Good”), Waylon Jennings
(“Stop the World and Let Me Off”)
and Tammie Wynette (“Till I Get it Right”)
do not make your boots quiver, there are nuggets
here for everyone. I found myself chugging down
the honky-tonk style of “Just Dawned on
Me” and the instrumental “The Sudbury
Nickel”, two of the album’s originals.
Some of this is a little too slow, such as the
aforementioned Wynette effort, as well as “Help
Me Make it Through the Night”, originally
done by Kris Kristofferson, but to my ears,
I could only see Conway Twitty in an ill-fitting
leisure suit strumming (barely) at his guitar
while his hair defied gravity. The fact that
the originals are largely the stand-outs here
proves that Doe can hootenanny with the best
of them and a full album of original work would
be greatly appreciated. The covers were fun
at times, such as an impressive take on Johnny
Cash’s “I Still Miss Someone”
or the ode to Detroit with Bobby Bare’s
“Detroit City”. In the end, you
will find yourself skipping over the covers
and indulging in the originals.
BOB
MOULD - Life and Times (Granary Music/ www.bobmould.com)
For some, this may come across a “new”
Bob Mould, as Life and Times is a crisply
produced, largely pop oriented record. However,
upon closer listening, there is everything here
that defines Mould as a performer and songwriter.
The lyrics are honest, the playing is warm,
and the songs are expertly and passionately
delivered. At barely thirty-six minutes, the
ten songs on Life and Times deliver
powerful images quickly and then move on. There
are classic punk moments, including the raging
“Argos”, but much of the work is
free from some of the noise drenched chaos of
Mould’s days with Husker Du, and lean
more towards the trend started twenty years
ago with the release of majestic Workbook. Voice
quivering a bit, “Bad Blood Better”
features Mould singing lines about wishing for
death , while “MM 17” speaks of
dreams. This theme is revisited on “Wasted
World”, when Mould opines “when
I grow up, I want to keep my dreams with me”.
Mould has never shied away from addressing personal
demons and unhealthy relationships, and this
continues with “I’m Sorry Baby,
but You Can’t Stand in My Light Anymore”.
While the line about tasting “last night’s
sex” may seem a bit juvenile for a man
of his age, I applaud Mould for having the willingness
to still surprise people. The punk in Mould
has still not grown up and we are all better
off for it. Life and Times feels like a celebration
of life’s little agonies as told by a
brilliant storyteller. There is a sense of self-control
and a worldview evident on the disc that only
occurs with maturity and suffering through turmoil,
both large and small. Full of balmy harmonies
and lyrics that offer insight and understanding,
Life and Times seems to answer some of the questions
first raised on Workbook. There are a few moments
that do not work for me, such as the whimsical
“City Lights’, but the majority
of this album is quite intense in terms of Mould’s
focus, as heard on “Spiraling Down’,
a track highlighted by a blistering solo. Life
and Time is the work of an artist who is confident
in his talents, and also inquisitive about what
defines one’s life.
THE STEREOTYPERIDER - Songs in the Keys of
F and U (Suburban Home Records www.suburbanhomerecords.com)
Some bands just cannot catch a break and Stereotyperider
are among them. After languishing in punk-pop
obscurity, watching far less talented bands sell
millions, vocalist Mike suffered a nearly debilitating
nerve injury. Now back on the mend, the band releases
an album of chugging, fist swinging riffs, tight
rhythms, and vocals that leave their poppier days
well in the past. “Luck”, “Not
Sayin’ It”, and “Problem Solved”
all include monstrous hooks and an aggressive
style that blends old fashioned punk energy with
hardcore grit and creates something new. I love
the twin guitar attack, for this allows Stereotyperider
to do something rarely heard in this genre: well
played and interesting solos. “Twon Song”
and the dense ”Dave’s Fault”
each include this feature. This was a nice surprise
from a band I remembered, and it is great to have
them back.
THE
BOY LEAST LIKELY TO - The Law of the Playground
(+1 Records www.plusonemusic.net)
Upon listening to this, I considered giving it
to my five year old son, but then I realized I
did not want to insult him. This is bubbly, far
too happy pop that sounds like the music you hear
on any awful children’s morning show. I
could certainly see these guys on the road with
the Wiggles after the pseudo country-pop of “Saddle
Up”. When the second track, “A Balloon
on a Broken String” wafts across the room
with the opening lyrics, “I’m not
a boy, I’m a big, fat balloon”, I
have to admit, I’m done. This did not come
with any form of information, but with a little
research, I came to realize that this band is
just two guys trying to make fun, goofy music.
They do achieve their aims, but They Might Be
Giants or Ween does this sort thing far more effectively.
The Beatles-esque pomp of “The Boy with
Two Hearts” is cute, but when the band blends
country twang with cheesy electronic sounds on
“The Boy Least Likely To Is a Machine”,
I could not suppress my laughter. I am unsure
of who would like this, and maybe I am just missing
something brilliant. I know that there are bands
out there somewhere more deserving of a record
deal that these guys.
LITTLE
BRAZIL - Son (www.anodynerecords.com)
Indie rock story tellers Little Brazil return
with a poignant human tragedy on Son.
The ten songs unfurl like a novel, beginning
with two innocent individuals meeting on the
beach in the summer of 1973. The work recalls
their love, marriage, struggles, birth of children,
separation, and eventual suicide of one of the
partners; (I do not want to give it all away
here!) heartrending yes, but above all, brilliant.
“All I want is my family back” cuts
through you on “Separated”, but
the impressive musicianship here takes a solid
idea and transforms it into a staggering record.
Son is humanity at its most raw and
vulnerable. The honesty with which Landon Hedges
writes is awe-inspiring in its ability to dissect
suffering and loneliness. Under waves of J Mascis
style guitar, notable rhythms, lush piano, and
majestic vocals, Little Brazil create a record
that may hit close to home for some, but you
need not be familiar with marital struggles
to be stunned by the skill on display on “What’s
the Problem” and the triumphant buzz of
“The Wedding Glass”. The closing
explosion of cymbal crashes on “Gold”
concludes a stirring collection of songs. This
is simply an emotive gem of a record.
LIVING
WITH LIONS - Dude Manor (Black Box Records)
Five passionate Canadians pump out guitar heavy
but highly catchy punk-pop across six easily
palatable efforts. This is not revolutionary,
but it is slickly produced and crisply played.
It is loud, but not the least bit dangerous-my
favorite moment of the record is the stock instrumentation
of “Intro”. Songs like “Mark
has Bedroom Eyes” and “A Noisy Noise
Annoys the Boys” are clever titles, but
the traditional shared vocals and predictable
loud/soft dynamics give this a well worn sentimentality.
In their defense, this is a re-release of material
recorded way back in 2006. There is a very good
chance that by the time of their debut full
length’s release this summer, the band’s
sound may have evolved. This is pleasant enough
ear candy but nothing to make you forget about
any of the thousands of other acts also playing
like this. A style, by the way, that should
not be labeled as “hardcore” as
in their liner notes. This is mainstream and
Hot Topic accessible, not a hardcore band.-Rich
Quinlan
AUSTIN LUCAS - Somebody Loves You (www.suburbanhomerecords.com)
Whether it is Ghostwriter or Greg Graffin’s
solo work, there have been pieces of Americana
music that I find to be irresistible, and I
will add Austin Lucas to that list. Somebody
Loves You is a gritty, front porch collection
of sincere, powerful songwriting. With his father
Bob at the recording helm, Lucas delivers eleven
warm tracks of lost love, personal examination,
and redemption. This is the sound of the American
mid-west and Lucas makes reference to the ‘Southern
Indiana hills” where he was born. (“Wash
My Sins Away”) The soaring harmony of
the title track belies the bitterness expressed,
while “Singing Man”, “Precious
Little Heart” and “Life I’ve
Got” are delivered with the soul of a
preacher. The heartbreaking “Go West”
is my personal favorite of the group. This tear-educing
treasure has Lucas saying farewell to a lover
named Emily as he croons wistfully, “You
know you got my blessing, but you can’t
expect these eyes of mine to watch you leave”.
Each song spins a poetic and personal yarn which
draws you in Lucas’s tales of woe and
celebration. While it may be hip to label this
“alt-country’, I believe this is
the sound of the heartland reaching out to the
rest of us, and it would serve the nation well
to listen.-Rich Quinlan
VINYL
PSYCHED
TO DIE - “Sterile Walls” ( www.gravemistakerecords.com)
This young band with a fantastic name delivers
seven blistering punk anthems, full of sharp
lyrics and biting musicianship. I love every
track here and there is not even the hint of
a let-down as one moves from side A to B. “Onward
Armageddon” is an atypical end of the
world track; rather then hoping to avoid oblivion
or blaming others for causing it, vocalist Mike
Yannich wishes he could make it happen. Efforts
like “New Hampshire Man’s Quandry”,
“Permanent Solution” and “Five
Year Plan” are each odes to heartbreak,
confusion, and the perils of growing up. Yannich
laments on “Five Year Plan” about
how his “friends are getting married,
buying suburban homes, and I’m just sitting
here complaining in my room alone”. “Staged
Reality” is a less then subtle slap at
television’s escapism and the drones who
tune in every week to watch people surrender
their last remnants of self-respect. The closing
title track is a sad commentary about the state
of the world as Yannich is satisfied to be institutionalized
for life: “Don’t have to pay no
bills, don’t have to answer no phone”.
This is a nearly perfect releases from one of
my favorite new bands.
THE
WONDER YEARS/ALL OR NOTHING – Split 7-inch
EP (www.nosleeprecs.com)
In the press material accompanying this release,
the phrase “hardcore-flavored punk-pop”
was used. I guess these two genres could not
be completely isolated forever, but are we reaching
a bit here? I think so, because I hear far more
punk-pop than hardcore on this split EP. The
Wonder Years from Philly feature a wall of sound
that is more warm than intimidating on ‘An
Elegy for Baby Blue” and “Don’t
Open the Fridge”. Both tracks crackle
with youthful exuberance, but this not for the
hardcore kid in you. Yes, they may be speedy
and loud, but The Wonder Years are heavy on
the pop. This holds even more so with their
English counterparts, All or Nothing. All or
Nothing race through two bubblegum flavored
nuggets, with “Summer Vacation in Providence”
emerging as the stronger of the two. There is
nothing not to like about either of these bands
if you enjoy your pop sensibility to be accessed
with a little speed. In the end, this is a solid
release from two skilled bands, but please do
not call it hardcore.
THURSDAY
Common Existence (www.epitaph.com)
Thursday’s sound has always been challenging
to describe accurately in terms of style and
structure. I have always shied away from the
“post-hardcore” tag, largely because
I have no idea what that actually means. For
me, Thursday is a passionate, emotionally charged,
and intensely human band with six very skilled
musicians. The opening “Resuscitation
of a Dead Man” kicks off Common Existence
with a boisterous, swirling mass of force announcing
that Thursday are embracing their heritage,
but as their Split EP with Envy displayed, are
also willing to expand their musical horizons.
The asymmetrical, kinetic playing of “As
He Climbed the Dark Mountain” hits hard,
and it is obvious that Thursday are in the midst
of a tremendous effort. The song ebbs and flows
before pausing for a gentle interlude that fades
so tenderly into “Friends in the Armed
Forces”. This song is the milestone of
the disc-a guitar fueled wall of energy, fittingly
progressing with the intensity and precision
of marching troops. Lyrically, vocalist Geoff
Rickly delivers articulate, fervent tales of
human misery without sounding like a complete
Malthusian. He finds a commonality among suffering,
as it is an aspect of humanity which is inescapable
and should be embraced and not feared. The acoustic
guitar, studio tricks, and sweeping theatrics
of “Time’s Arrow” reflect
a band that is evolving and becoming more sophisticated
and confident in their own abilities. “Unintended
Long Term Effects” is a return to what
makes Thursday so intriguing, as they roar with
controlled ferocity while keyboardist Andrew
Everding serenely accents the furor. The sweeping
playing of “Circuits of Fever”,
along with the haunting vocals on “Subway
Funeral” and the closing “You Were
the Cancer” allow for the record to finish
as impressively as it began. “You Were
the Cancer” instantly captures your attention
and slowly rises to a magnificent crescendo
after progressing slowly as it opened. Common
Existence brazenly announces a great return
for Thursday - just don’t call it a comeback.
ASOBI
SEKSU - Hush (www.polyvinylrecords.com)
This incredibly gifted duo performs a collection
of songs that becomes progressively more dynamic
and lovely over the course of Hush. There is
a gorgeous, nearly divine quality to each effort,
from the ambient beauty of ‘I Can’t
See”, or the pop sensibility of “Transparence”,
to the haunting intro of “Sing Tomorrow’s
Praise”. Even the more traditionally structured
“Me and Mary” is made exhilarating
through the luxurious voice of Yuki Chikudate.
This is a band that could take its music in
any direction, for everything they play is passionate
and vibrant. One is instantly struck by the
warmth of Chikudate’s voice with the opening
“Layers”. This song is a perfect
theme for the work as a whole, for every moment
is a complex, intricately structured work that
is ingenious as much as it is entertaining.
Guitarist James Hanna is classically trained
and it is apparent of songs like “Glacially”
and “Familiar Light”. This is painstakingly
crafted music that does not lose it humanity.
This is not abstract math rock which becomes
too dense for the casual listener, like me.
It retains a vulnerability and warmth that defies
its complexity.
THE
POLES - Twelve Winds (www.doubleplusgoodrecords.com)
The Poles have rare ability to compose murky,
brooding music without sounding self-indulgent
or self-pitying. Vocalist Todd Lemiesz has a rough,
raspy, and instantly infectious voice that commands
attention. The band also features bassist Matt
gentling from Archers of Loaf, one of my all-time
favorite acts, and there is a certain Archers
quality to some of the material here. The meandering,
intimate “gasoline”, the title track,
and “Dark is Electric” are examples
of this band’s refreshingly unique approach.
These tracks are simultaneously dense and ethereal
with Lemiesz’s voice emerging from the depth
of air-tight playing. Pounding work from drummer
Jon McDuffie and guitarist Bruce Rogers create
a dark ambience during the exceptional “Trampoline
days”, and the masterpiece “Fire in
the Woods”. This track even features a brief
homage to Zeppelin’s “No Quarter”.
Twelve Winds is an intriguing release from a band
to pay careful attention to, for they offer something
very rare right now: a sense of true originality.-Rich
Quinlan
THE
RED JUMPSUIT APPARATUS - Lonely Road (www.virginrecords.com)
The Red jumpsuit Apparatus is one of those
bands that the kids seemed to know about but
I had never really heard much of their material;
I did not miss much if Lonely Road is indicative
of who they are. Lonely Road is clearly pandering
to the major label masses, as TRJA play incredibly
safe pop that at times feature majestic harmonies,
but is overall quite syrupy. This is alterna-pop
at its least threatening, for Lonely Road is
ridiculously slick in terms of production, with
much of the record coming across like a Disney-like
version of a rock band. I don’t know if
the sugar rush of “Senioritis” or
“Pen and Paper” will win over fans,
but these tracks may send them into diabetic
shock from the sickly sweetness of it all. I
am completely put-off by the pseudo Sgt. Pepper’s
arrangement of “Godspeed”, the closing,
banal attempt at depth that comes across as
farcical. This sounds remarkably self-indulgent
and bloated. I’ll pass on this.
TRUE
NATURE - "Feels Like Centuries" (TrueNatureBand.com)
The five-song EP is a rich tapestry of skills,
as Lou Barlow (not the one from Dinosaur Jr./Sebadoh) works with legendary bassist Tony
Levin and guitarist Gerry Leonard. The resumes
between these two include stints with John Lennon,
David Bowie, Rufus Wainwright and Peter Gabriel.
Rounding out the line-up is esteemed producer
Aaron Comess. Each song is a spaciously textured,
intricate work with the gentle “Woman”
existing in perfect juxtaposition to the more
intense “My Freedom Lies behind the Sun”.
As intricate as the playing is, there is an
equal level of depth to the lyrics. Aging well,
Barlow writes with a mature perspective about
a complex and frustrating world. “Truth
I Have to Steel”, the aforementioned ”Freedom”
and the closing “Too Close to See Who
We Are” are all examinations of where
people fit within society and how our own thoughts
can become impediments in our lives. Each track
unfurls a new level of complex beauty with each
song an emotionally driven passionate ode to
how we all collectively suffer in a society
that has lost its sense of security. Yet Barlow
does not labor upon the negative. He investigates
loneliness and sorrow, but he also explores
how a return to the basic elements of nature
can heal us as a people. The shaman gracing
the cover of the disc acts as a perfect metaphor
for the musical soul-searching and healing done
by True Nature.
REVOLTING
COCKS
- Sexo Olympico (www.thirteenthplanet.com)
Robotic hookers, herpes, incest, and Lou Ferrigno;
add it up and it becomes the new Revolting Cocks
record. Yes, friends, Al Jourgensen is proving
to be the Joe Queer of his genre, as RevCo returns
with Al and three young, energized musicians
to resurrect the corpse of one of the great
underrated bands that revels in all things debauched.
Over a throbbing beat, new vocalist Josh Bradford
explains how his “hookerbot comes right
on cue” (“Hookerbot 3000”),
while “Red Parrot” features a frenzied,
Ministry-like guitar riff that celebrates hot
strippers and getting drunk on Sunday. “Robo
Bandits” should be a club staple, with
its electronic vocals and hypnotic groove. (“Come
take the test/we’ll try not to give you
herpes). However, nothing can truly prepare
you for “Cousins”. The subject matter
here is a beautifully sick story of a summer
romance-between family members! At a blazing
pace and blistering dance groove, Bradford asks
“why walk down the street when you can
walk down the hall?” Only RevCo could
pull this off, and as much as I am floored by
“Cousins”, “I’m Not
Gay” rivals it for both quality and entertainment
value. This track includes lyrical nuggets like
“I’m not gay; I only pretend to
be when I’m drunk” and ”It’s
hard to be a homo in the Lone Star State/ It’s
hard to be a homo in the United States”.
If this song is not illuminating clubs nation
wide then America is in worse shape than previously
thought. Forceful, bouncy, and funny as hell,
“I’m Not Gay” is one of several
highlights on Sexo Olympico. “Lewd
Ferrigno” details the former Hulk as a
sex god who has the power to pleasure women
at random. If you have missed RevCo or missed
Al Jourgensen’s twisted brilliance, Sexo
Olympico is a welcomed return.
CANNIBAL CORPSE - Evisceration Plague (www.metalblade.com)
Cannibal Corpse have been unleashing mind-melting
death metal upon the unsuspecting masses for
over two decades. That fact is staggering enough,
but what may be more shocking is that the band
seems to be getting better with each release.
George “Corpsegrinder” Fisher has
one of the most recognizable and crushing voices
in the genre, as he can instantly move from
guttural growl to terrifying shriek. His articulation
is a bit more clear on this record, allowing
listeners to truly immerse themselves in the
tales of suffering being musically painted before
them. The band’s basic tenet of songs
about “violent death”, in the words
of bassist Alex Webster, remains true on Evisceration
Plague, as “Beheading and Burning”,
“Evidence in the Furnace”, “Shatter
Their Bones” and “Skewered From
Ear to Ear” verifies. However, the obvious
blood-soaked gore aside, the musicianship here
is impressive. Guitarists Rob Barrett and Pat
O’Brien work in perfect tandem, crafting
riffs that are technically profound, off-kilter
at times, yet consistently relentless. “Priests
of Sodom”, “Carnivorous Swarm”
and the ridiculously fast “Scalding Hail”
are all examples of players who understand what
death metal fans want, but are not afraid to
experiment with tempo and tone. Perhaps these
qualities are what separate Cannibal Corpse
from the legions of imitators; they helped invent
a genre but have never simply re-recorded old
work. Drummer Paul Mazurkiewicz and the aforementioned
Webster are a vicious rhythm section, even when
they slow things down slightly, as on the bruising
title track. If people are looking for something
wholly different from past Cannibal records,
than they simply do not know this band’s
history. However, for fans who want their music
saturated in liquefied humanity, Evisceration
Plague does not fail, and it proves that after
twenty years of horrifying the weak, Cannibal
Corpse shows no signs of slowing down.
KILLED BY THE BULL -“The Return of the
Spell” 7-inch EP (www.koirecords.com)
Koi Records continue to impress me with their
arsenal of acts, and Killed by the Bull is another
notable act to follow. This New Jersey four-piece
mixes and matches metal, hardcore, and even
a slight Americana-tinged rock to create an
aggressive yet accessible sound. The bass-heavy
throb, compliments of Jeff Stevens and his partner
in rhythmic crime Bill McVeigh, that dominates
the title track coexists in perfect synchronicity
with the squalling vocals of Justin Fullam.
Fullam’s impassioned wails also dominate
“Her Last Week With It”, a song
which explores a failed relationship in a fresh
and frightening way. (“She drives away,
she’s going home/and the it disappears
at last/and I’m the new guy, keeping her
secret”). The addition of guitarist Paul
Chiesa allows Fullam to focus almost exclusively
on singing, and his fury is felt throughout
both tracks until the B-side collapses upon
itself in a wall of noise. Great stuff. Additionally,
if you are comfortable with legal downloads,
the disc comes with an insert that leads you
to page where one can download two additional
tracks. These songs are equally striking and
worth using your computer for something that
you will not have to delete from your history
later.
CATTLE
DECAPITATION - The Harvest Floor (www.metalblade.com)
Cattle Decapitation returns to prove again that
death metal is a vibrant and expanding genre.
The Harvest Floor (named for the area of a slaughterhouse
where the animals meet their fate) is a swirling,
scathing, brutal slab of severe mastery. Vocalist
Travis Ryan has one of the most unique voices
in extreme music and lyrics straddle a line between
puss-filled gore and political astuteness. While
“A Body Farm” and “Tooth Enamel
and Concrete” are odes to obscene levels
of disturbing violence (“please pardon the
stench and the trunk of a man lying on the workbench”-A
Body Farm), “We are Horrible People”
and “The Product Alive” detail the
destructive nature of humanity. However, Cattle
Decapitation are not lecturing you about your
carbon footprint-they want all people destroyed
as Ryan bellows “humanity is the cancer
and I want out!” Musically, The Harvest
Floor is the band’s most sophisticated record
to date. The brutal low end of bassist Troy Oftedal
and David McGraw pummel the listener on all efforts,
but “The Ripe Beneath the Rind” and
‘In Axestasy” are particularly intimidating.
Guitarist Josh Elmore sounds like a small army
of players rather than just one man, as his guitar
work goes well beyond the traditional chugging
riffs that can bog down lesser death metal acts.
“Into the Public Bath” will test one’s
gag reflex as Ryan spits lyrics about bathing
in waste and digesting a multitude of bodily fluids.
However, the band’s most experimental moments
arrive with the title track. Blending experimental
noise through loops of tape hiss, the song departs
into a quiet, nearly gentle lull accented by cello
and warm vocal arrangements. Haunting, ethereal,
and complex, Cattle Decapitation will stun some
listeners and thrill those who understand that
bands can retain their original ferocity while
also taking chances and expanding their repertoire
of skills.
LEATHERMOUTH
– XO (www.epitaph.com)
Anger and hatred - these two primal emotions
constitute the bulk of the charged release from
Leathermouth. I am amazed by this, largely because
the band is led by Frank Iero of My Chemical
Romance. “5th period Massacre” takes
aims at bullies and the uncaring nature of schools
for the tragedy of school shootings (“Nobody
loves me/Its driving me insane, why do you all
hate me?”), while “I am Going to
Kill the President of the United States”
is pretty self-explanatory, although I am sure
this was written before the recent election.
Leathermouth is a fast and violent assault upon
the senses. Full throttle guitar with metal’s
density and hardcore’s unapologetic abrasiveness
meshes effortlessly on “This Song is About
Being Stalked by Monsters” and “My
Love Note has Gone Flat”. Fans of classic
power-violence will love this as Leathermouth
could have performed with Capitalist Casualties
or Cryptic Slaughter in their prime. “Your
Friends are Full of Shit’ is another seething
verbal attack as “I’ll wear a smile
when I stab you in the back, baby” and
‘you are the maggots I never forget”
are spit at you with tangible vitriol. This
is an amazing way to spend twenty-three minutes.
STATE
- You Shouldn’t Stare (www.myspace.com/state)
This one is disappointing until the middle
of this disc, and then things change for the
far better. Beginning with the title track which
sounds a like a funeral march, I am instantly
bored and very concerned. The off-beat kinetics
of “Summerdale” is a positive step
as it displays unique musicianship, but the
poppier “Jezebel” and “Everyone
is a Saint “ fails to really generate
any true energy. However, the pseudo Americana-punk
of “Heart Attack” demands multiple
listens, and then something snaps in the band
as “The Model” and “Carousel”
are unruly attacks. I instantly fell for both
of these songs and State has the ability to
roar with the loudest hardcore band if they
chose to do so. The bass-dominated earlier tracks
gave way to guitar intensive slabs of force.
Unfortunately, this proves to be more of a musical
sugar rush rather than the band’s defining
trait, as “Attention” and the closing
“Sleep” fail to emulate the more
aggressive efforts which precedes them. “Sleep”
is a proper bookend to the opening title track
as it is equally somber and quiet, but it leaves
the listener on a dour note rather then the
energized passion displayed earlier. In the
end, State posses a great amount of talent and
could be anything they want as a band. I just
hope they choose to go the hardcore route. If
not, they can certainly generate accessible
mainstream fare. This is a rare feat and I do
believe that in one capacity or another, State
will become a well known act.
LOVE, SHE WROTE - Oh! And About Last Night…
(www.myspace.com/loveshewrote)
If imitation is the sincerest form of flattery,
then Fall Out Boy will be gushing when they
hear this. Love She Wrote is basically FOB Jr.;
a poppy, hook-filled love fest of heartache,
heart-break, and sugar-coated angst. The harmonies
may be infectious, but they are clearly aimed
at fourteen year old girls with their first
crush who are ready to take down those Jonas
Brothers posters for something slightly (and
emphasize slightly) more dangerous. However,
those with testosterone or a driver’s
license may find this just too sweet for the
system, despite the production attempts to beef
up the guitar and the low end. There is simply
no way to make “This Girl is Fierce”
or “December Nights” sound bold.
This is a band that could be huge because they
are accessible and Miley’s fans have to
grow up sometime.
CITY
OF SHIPS - Live Free or Don’t Tour 12-inch
EP (Forcefield Records www.forcefieldrecords.org)
The opening track of this record, “Bleach
Funnel”, is a loud, noisy, beautiful disaster
and I was hooked. City of Ships is a band that
can traverse a wide swath of musical styles
and seems to handle each of them with equally
aplomb. The atmospheric intro of “Night
Vision” is a perfect set up for the droning
guitar and shoe gazing delivery of the vocals.
The vocals are a fascinating aspect of this
band, for they are pushed to the breaking point
on the raw, abrasive “Critical Vulture”,
a song accented by sleek, sharp guitar playing
as well. A song like “Critical Vulture”
gets the listener energized while the very next
effort, “King Temp”, is a sludgy
monolithic groove that is the musical equivalent
of water-boarding. Each time you think you are
rising above the wall of sound that is pummeling
you, the next wave of force arrives to drag
you back under the water. The B-side is equally
impressive and possibly more exhilarating, as
“20/20” is a battering of a song.
This track simply beats you bloody and laughs
at you as it does so, while the bass heavy “Hold
Tight” was my favorite of the bunch. It
is interesting how these tracks end with more
subtle conclusions, while “Too Late to
Pray’ is straight-forward, guitar fueled
anthem with an awesome groove. This is a stirring
effort.
OUTCLASSED
- This Might Be a Coincidence… 12-inch
EP
(www.forcefieldrecords.org)
When a band starts their five song release with
a song called “Kick God in the Face, Hail
Satan!”, I am intrigued. Outclassed is a
magnificent explosion of musical wreckage that
writhes and wails with angular guitar, hyper-active
drumming and raging vocals. However, somehow,
in the midst of this cathartic discharge, one
finds moments of actual harmony and soaring skill,
such as “The Amputated Hand Book”,
another of the immortal titles one finds here.
At times frightening, other moments exhilarating,
this is a release for those bold enough to accept
a man screaming at you viciously for a handful
of scorching songs. The most impressive aspect
of this disc is the incredible control and precision
heard on “Fuck Mark”, and the closing
“Missing Teeth”. This is not noise
for noise’s sake but music more akin to
early Sonic Youth or even Napalm Death. There
is a larger purpose to the fury here. This is
a very rare type of record in that you are intellectually
and physically bruised upon completion.
RSO
- Row (www.lostinthefuture.net)
There is something so satisfying about listening
to band that plays music with complete disregard
for what people will think of them. It is clear
that RSO does not care how critics or those
too frightened will misinterpret this record;
they simply make noisy, invigorating, and sometimes
gaudy, other times meandering music that arrives
in balls of sound that are both confusing and
amazing. The blunt force trauma of the opening
“Drowin’” instantly captures
my attention and I could not but sit with rapt
attention through the duration of Row, even
with two efforts (“Drag” and “You
Too”) well over the nine minute mark.
The highlight for me is the multiple personality
case that is “Sell Yourself”. Starting
with an oft-kilter intro that sounding surprisingly
jazz-inspired, the band then drones on for six
minutes with punishing guitar work which I did
not want to hear end. While the vinyl release
is awesome, there are two greatly appreciated
bonus tracks on the cd, including the swirling
“It”. However, for those purists
who will only hear the vinyl, you are still
treated to seven monstrous and unrestrained
efforts that reveal the diversity of this band’s
musical influences. I am greatly impressed with
RSO’s agility in terms of generating truly
boundless waves of force. Very cool stuff.
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