Author: Jerry Actually

The Decay – This Months Rent

(c) 2010 The Decay
[rating:3.5/5]

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The Decay, hailing from Guelph, Ontario, Canada (which makes me think of the 12th/13th century conflict between the papacy and the holy roman empire, but I digress) are a punk rock band and they graciously sent me a CD. I happen to be listening to it right now.

“This Months Rent” contains 14 tracks and an intro of reasonably snotty and rowdy punk rock, but with more song-craft than you’d initially suspect from my pigeon hole description. I’m lead to believe that the cost to produce and distribute this disc was the cost of a month’s rent. Presumably the band is either now homeless or have successfully worked things out with their landlord. … and I digress further.

The Decay bridges the gap between straight up punk and rock and roll by adding emphasis on melodic hooks and well structured choruses as evident on track four, The Street. Speaking of that particular track, it reminds me a lot of Gaslight Anthem. Without being overly verbose, because I keep getting distracted, let it suffice that “This Months Rent” is a rock solid DIY punk rock release with a serious nod to its roots of rock and roll.

On another note, there is a track on here that is over the four minute mark. Normally I’d start to complain about anything past three. In this case, I think the harmonica interlude divided it up enough to maintain my attention. When all is said and done, I like this and it makes a damn fine road CD.

–Jerry Actually

For fans of: Street Dogs, Gaslight Anthem, Hudson Falcons, Welchboys

Cobra Skulls Join Fat

We’re stoked: Cobra Skulls have an urgent political message and are one of the hottest bands in the punk scene. And with a name like Cobra Skulls, their music has to be extra good, right?!? Originally from Reno, they released a couple great LPs with Red Scare and have been playing clubs and basements in North America and Europe over the past couple years. Their dynamic sound takes influences from all sorts of bands: classic punk like Misfits and Clash mixed with newer stuff akin to Against Me! and Bad Religion. Whether it’s leftist anthems or punky love songs, Cobra Skulls craft the hits for the pit. These guys are busy in 2010 as they will be on tour from March through June and already have upcoming shows with Dead To Me, Strike Anywhere, Flatliners, and some dates on Warped Tour. We welcome these sexy serpents to the Fat family and hope to bring you a new record from them soon.

No Piece For The Wicked

We here at Sailor’s Grave Records  are proud to announce, in conjunction with our partners at DRAVEN CLOTHING, PUNKNEWS.ORG and MERCHNOW, the NO PIECE FOR THE WICKED tour featuring THE BUSINESS and THE HOLLOWPOINTS.  The tour commences on April 22nd in Brooklyn, NY and after winding through the eastern two thirds of the country, wraps up back in the Big Apple aboard The Jewel with a Rocks Off Concert Cruise.

If you are anywhere within driving distance of Boston, MA, be sure to make plans to attend the SAILOR’S GRAVE RECORDS SHOWCASE on April 23rd at CLUB LIDO! The event will feature THE BUSINESS, THE HOLLOWPOINTS, REFUSE RESIST, BEANTOWN BOOZEHOUNDS, and BURNING STREETS.  It’ll be a helluva night, so come on out and raise yer glass!! Continue reading No Piece For The Wicked

Sadplant – The Kids Are Alright

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(c) 2009 Sadplant

[rating:3/5]

The prolific Connecticut punks of Sadplant are back at it again with another DIY release. This one entitled, “The Kids Are Alright.” 14 tracks of driving punk with short track lengths with matter of fact lyrics and a straight for the throat attack. Sadplant has a definite consistency in their sound. This is certainly not a bad thing, but as opposed to very distinct releases, the albums (that I’ve heard) seem more of a continuation on a theme. There is, of note, some of the rippinist harmonica jams on track nine, “Total Piece of Shit” … so enjoy that!

What I admire the most is the tenacity in which this band attacks the DIY punk scene. They take a no holds barred approach to writing, recording and distributing rock solid punk on no terms but their own. “The Kids Are Alright” starts with the requisite intro and briskly jumps into the remaining tracks, including a gem of a cover in Suicidal’s “Possessed to Skate.” This, of course, occurs directly after the “bonus” bash the bass player segment.

So, the bottom line, Sadplant continues to deliver a consistent high quality product that doesn’t drift too far from the scope of what I’ve come to expect of the Sadplant sound. Of course by the time I finish typing these words they will have at least four new releases. Take it for what it’s worth.

–Jerry Actually

Life of Agony

Life Of Agony and I Scream Records sign worldwide deal.

I Scream Records is very excited and proud to welcome Life Of Agony to the family.

On Saturday April 3rd 2010 I Scream Records will be recording & filming Life Of Agony’s performance at the Ancienne Belgique in Brussels, Belgium, the second show of their exclusive European “20 Years Strong” tour. In late 2009 the band performed their debut album “River Runs Red” in its entirety during a few exclusive, sold out, US shows and now, after popular demand, they’re also heading over to Europe to perform a set built around this amazing, legendary album.

The release of this “20 Years Strong” live album, which will also include a free bonus DVD of the complete show at the Ancienne Belgique, exclusive footage and much more, is set for early this Summer.

Crossover-metal kings, Life of Agony, formed in the summer of ’89 and quickly built a cult-following upon the release their now classic, debut album, “River Runs Red” released through Roadrunner Records. The band’s unique sound and honest lyrics have captivated audiences for two decades now. In celebration of this huge milestone, the group has been performing the record that started it all!!

“We’re really excited to capture this moment in time. Twenty years, man, that’s no joke! If you would’ve asked us when we were kids growin’ up in Brooklyn, if we thought that we’d ever make something this important to people around the world, we probably would’ve laughed in your face. But, here we are, still selling out shows after all this time and turning people’s tragedy into hope. Somehow, through the music, we’ve helped a lot of folks out there. And that’s what’s always been most important to us.” – LOA Bassist, Alan Robert

Laurens Kusters says: “We’re very excited about this collaboration. This will be an amazing release, recorded at the Ancienne Belgique, one of the most exclusive European clubs, in Brussels Belgium, the city where I Scream Records was founded in 1994.”

Life Of Agony “20 Years Strong” – European Tour 2010

April 2nd – Effenaar in Eindhoven, The Netherlands (sold out)

April 3rd – Ancienne Belgique in Brussels, Belgium

April 4th – Matrix in Bochum, Germany

NOFX – Cokie the Clown

(c) 2009 Fat Wreck Chords
[rating:3/5]

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I wasn’t planning on doing a review of this disc. It is tracks that didn’t make the first cut of Coaster. It is decent stuff. It totally merits a mention, so … mention. The important part is the picture of Cokie the Clown, so enjoy. Oh, and the acoustic version of “My Orphan Year”, that is some sad stuff man. So have a beer, shed a tear. For the superist of fans, ladies and gentlemen, Cokie the Clown. Oh and on and non-review related note, Fat Mike had the greatist mugging in Buenos Aires. I’m happy to report that no one was harmed and only an iPhone was stolen. Not bad given the possibilites.

–Jerry Actually

Spawn Atomic – PowerPlant EP

(c) 2010 Spawn Atomic
[rating:3.5/5]

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Please stay tuned for this important message, “Whoa whoaa whoa oo oo, whoa whoa whoa. That is all.” San Franciso Horror Punk trio Spawn Atomic knows how it goes. If you want any sort of cred as a horror punk band at all, you gotta have the whoa whoa whoas, and let me tell ya boy they gots ’em.

I know that The Misfits were/are like some sort of ultra-revered be all end all when it comes to the genre, maybe they are, I don’t really care. Mighty Morphin Power Glen can eat it. But you can’t really review the genre without some thinly veiled reference to how much whatever band you are reviewing is or isn’t like The Misfits. So here it comes. Spawn Atomic is reminiscent of a band, who shall remain nameless, known for its early work in the genre. But enough ancient history.

Spawn Atomic PowerPlant EP thrusts upward from the atomic wasteland with six tracks of vampire hunters, zombies and sick sick sex with the aforementioned. The short track length, the uptempo and the raw sound, rarely found outside of a trio, really works. There’s a post-apocalyptic garage band vibe that while certainly is super-scary, is also fun and dare I say endearing.

Beyond the makeup and the intent to shock, the songs have solid structure and musicianship. The vox aren’t caught between a scream and a growl. I for one appreciate the hell out of that. The guitar is distorted. The bass is punchy, the drums percussive. What more do you need? Word on the street is that the band will have a full length out by summer and they have a few West Coast and AZ shows (Phoenix Comicon) set up to back up their releases.

Here’s what it really boils down to. Spawn Atomic, all gimmicks aside (and I’m a sucker for a good gimmick) really screw it on. If you are a fan of punk rock, horror punk, 50s punk etc. then for the evil overlord’s sake, check these sonofatomic mutants out.

–Jerry Actually

Street Dogs – Rabble Rousing

STREET DOGS RETURN TO STUDIO FOR

“RABBLE ROUSING” NEW ALBUM

 

February 1, 2010 – Los Angeles, CA – Punk rock proponents for social justice, Street Dogs, have announced plans to return to the studio in February to record their fifth studio album and follow-up to their critically acclaimed 2008 Hellcat debut State of Grace.  The band will be recording with bassist Johnny Rioux as producer and Rick Barton (original Dropkick Murphys guitarist) co-producing at the infamous punk rock studio the Blasting Room in Fort Collins, Colorado which was built by members of Descendents, All and Black Flag.

 

Punk rock runs deep in the veins of Street Dogs, with former Dropkick Murphys singer Mike McColgan’s uncompromising lyrics alongside bassist Johnny Rioux, guitarists Marcus Hollar and Tobe Bean III and drummer Paul Rucker’s fist pumping street punk anthems.  The band burst onto the scene in 2002 and has released a string of classic albums including 2008’s State of Grace, which critics called “a raucous and purposeful working man’s ride” (Dallas Morning News) with “the kind of political streak rarely heard since the Clash” (Cleveland Scene).

 

After incessant tours around the world alongside bands like The Offspring, Alkaline Trio, Anit-Flag, Reverend Horton Heat and headlining tours in US and UK in support of State of Grace, Street Dogs will enter the studio in February ready to shake the system and rally the people like never before on their fifth studio album.

 

“Every time we go into the studio we are trying to make our finest record,” says McColgan. “So on February ninth when we enter the Blasting Room in Fort Collins, Colorado that is the goal to make our best record.  Also this record will be more of a rabble rousing punk record than our previous records and have more of an edge and an attack on it.  We will work to all of our strengths on this effort and we are very excited to have Rick Barton co-producing the record.”

 

“Our next and fifth record will capture the purest form of the band to date,” adds Rioux.  “We are making it as if it were our first record. The punk and hardcore songs will be MORE punk and hardcore.  Our Celtic influence and songs will be more Celtic, the folk, folkier and so on.  It’s almost as if we are making records in the reverse of most bands. Ending up back at square one, and square one never sounded better.  Basically, we want to make our new favorite record.”

 

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For More Information:

www.myspace.com/streetdogs

Neck – Come Out Fighting

© 2010 Abstract Sound Records

[rating:3.5/5]

It is hard to review Celt-Punk music of any pedigree without referencing The Pogues. This is especially true when the CD is the new release from London based Celtic Folk Punkers, Neck. The obvious tie-ins are there: Tin whistles, Irish themes, traditional covers et al. There really is no denying the obvious influence, but influences aside, “Come Out Fighting”, the new release from Neck, still stands on its own two feet. This, their first official US release (in this modern age, do national boundaries really mean that much for music relases?) proffers 14 tracks of dashing daring and swaggering and a cover of MacAlpine’s Fusiliers (can’t go wrong with that one). The blend of modern and traditional keeps things lively and encourages the whisky to flow freely. Admittedly I have a particular bent for punked up traditional Celt/Folk sounds, but I imagine that I’m not exactly alone in that. If you’re a fan of Dropkick and/or Flogging Molly then “Come Out Fighting” is a perfect addition for your audio collection. On a slightly related note, the tin whistle parts throughout track four, “Tink” could easily find a home in an Irish style cover of Centerfold from J. Geils Band. I think it’d make a bang up cover. So if any of you up-and-coming McBands out there want to grab a sweet idea, it’s all yours. Bottom line: Solid Irish influenced Rock and Roll with a leaning towards the Punk side of rock. I would have gone slightly higher on the star-o-meter, but for a couple of too slow tracks, but hell, that is my call to make. Come Out troid a théann!

–Jerry Actually

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MayOrWest – We The End

©2009 MayOrWest Music

[rating:2/5]

Sometimes writing a reasonable and objective review is challenging. Right now I’m listening to “we, the end” from Hoboken New Jersey’s MayOrWest. Self-described as alternative/punk-rock, I would venture that they are more alt-emo / post punk with major metal overtones, something of an anamorph between AFI and Queensryche. The disc features 12 tracks of mid-tempo melodic rock ranging between one and five minutes in length, though arguably some of the shorter duration tracks really qualify as intros. The individual songs seem to start off well enough, but within seconds they become far too operatic for my preference. While the songs are well arranged and executed, I really am not getting it. If MayOrWest could/would harness the energy that the backup vocal chant portion of track three, “Icarus” has, I think that I could get behind this a little more, but as it sits, I’m left wondering how fast I can change the station. That said, I appreciate the double entendre of their name. Intentional or not, there is some interesting confusion in “May or West” ala mixing time and direction with a logical operator, or “Mayor West” of Family Guy fame. Bottom line is that while done well, I don’t like what it is that they are doing.

–Jerry Actually

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