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)

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)

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)

THE BOY LEAST LIKELY TO - The Law of the Playground (+1 Records www.plusonemusic.net)

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 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)

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)

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)

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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