All reviews
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(c) 2010 Epitaph Records
[rating:0/5]
Adding slightly distorted power chords and brutish drumming isn’t enough to make emo any less bland. “The Ghost of You and I” has a clever intro, but that’s about the only bright spot on this album. Fans of emo: surely you can find something better than this.
-Ozymandias
(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
(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
[rating:4/5]
If you miss Nirvana and have ADD –who doesn’t? – check out Dead Cats Dead Rats’ latest album, Riff. The longest of the nine tracks clocks in at 2:52, and it all sounds more like 1989 Seattle than 2010 Massachusetts.
The first five tracks are flat out good. They’re so good, in fact, that it takes a few laps around the album before you catch your breath and realize that the second half drops off a bit. Still, I’ve been listening to the album nonstop for a week now and I’m not skipping any tracks.
Track four, “Yeah Yeah Yeah,” starts with one of the catchiest hooks I’ve heard in a while, a lazy little backbeat job that’s perfectly placed to follow the howling crescendo at the end of track three, “Subterranean.”
Track two, “Chuncky” is arguably the best of the album. Opening with the line, “Radio wouldn’t play my song,” it does the soft/hard slow/fast dynamic to perfection, and coupled with Matt Reppucci’s screaming vocals, it’s easy to see why the name “Cobain” comes up in a lot of Dead Cats Dead Rats reviews.
Tracks six and seven are the weakest on the album, but not without value. They just ramble a little and aren’t as memorable as the rest of the album, which closes with a nice little bluesy number titled, appropriately, “Fritter Blues.”
Dead Cats Dead Rats has a lot of talent and a great sound. Since their last release, they’ve gotten tighter and more polished without sacrificing any style or energy. Here’s hoping they keep doing that.
–Ozymandias
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(c)2010 Heart and Skull / Epitaph Records
[rating:4/5]
I’ve got a soft spot for Alkaline Trio. I’ve been listening to them for the better part of the last 12 years. After I first heard Goddamnit I was hooked. I have to admit that after they left Asianman Records I got a little disenchanted. Not that I begrudge them the popularity and a little recognition for their hard work, and don’t get me wrong major labels are a collective bag of douche, but I don’t blame A3 for that. However when I heard they were starting their own Heart and Skull label in conjunction with Epitaph I was relieved. I hoped that things might get back a bit closer to the earlier days. I heard that that the new release was going to rock it a bit harder. Well I finally got a copy of This Addiction and I’m fairly convinced that the rumors I heard were right. The 11 tracks are more reminiscent of something around From Here to Infirmary. The content has a little more edge and a little less emo to it. For fans of the more downtrodden of A3’s work, don’t be disappointed (or do, if that is what you’re into) I’m just saying that they brought it back a bit, but this time with a lot bigger production. There are lot more layers to the songs and a lot more variety. The zip of track two, “Dine, Dine my Darling” is refreshing. So are the 80’s keyboard sounds on “Eating Me Alive”. Hell there is even a horn track on the also up-tempo track three, “Lead Poisoning”. When it’s all said and done you know this is Alkaline Trio, but it’s an Alkaline Trio that seems somehow revitalized. This Addiction is well worth it.
–Jerry Actually
© 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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©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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© 2009 God’s Ghetto Records
[rating:3.5/5]
You know what I miss? Ska. Maybe because it was foundational in my youth and I pine for the long gone days, or more likely because ska is full on awesome, I miss ska. Thankfully I have a mailbox that occasionally gets laced with some of the good stuff. What do I have here (hear) you might ask. Well what I have is a brand new CD, Creation Sounds from Ruder Than You. This Philly ska band has been bustin’ it since back ’89 at Penn State. Eight great tracks of pick it up, dit dit dit, horn laden ska. For the uninitiated, ska music was invented by future robots that came back to the past disguised as Dutch colonists to the island for Grenada. After they invented the bicycle they grew bored and started ska bands. Ok, no really, there is a reasonably apt history of Ska on Wikipedia. http://en.wikipedia.org/wiki/Ska The jazz and calypso roots are unmistakable on Creation Sounds as is the love of music. Honestly I’m at a small loss for words, but I want to bring you the honest truth (in so far as I perceive it) I’m not as stoked on this as I would be a new MU330 disc, but I’m pretty damn pleased. Support your local ska band ladies and gents, and local or not, support ska by (buy) getting a copy of Creation Sounds new to you from Ruder Than You!
–Jerry Actually
(c) 2009
[rating:4/5]
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In the interest of brevity (no, I’m not running late on deadline again. I make my own deadlines, so just shut it already.) I want to say that I love the f-ing guts out of this EP. A Heartbreaking Work of Staggering Drunkenness brings five originals and a Crimpshrine cover (Another Day) and let me say that it brings it well. If you like your punk rock with nicely layered and alternated vocals and hook laden riffs then by all means head on over to www.myspace.com/thesingularity and check this Bay Area band out and help spread the word. My only regret is that it is only an EP. (Oh, I also dig the album artwork)
–Jerry Actually
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(c) 2009 Pee Records
[rating:4/5]
This CD works straight out the gate! Damn The Empire is pissed. The world is going to hell. The government is fucked. The music industry is right down the toilet. The scene sucks. Prius owners are self-righteous pricks. “With Trends Like These…” doesn’t hold back on the anti-everything vitriol. I find it refreshing. This disc has something that a lot of punk rock has been lacking as of late, conviction. Damn The Empire means it without being smug or overly attitudinal. The band is fuming about meaningful timely issues, almost as if they were culturally aware with what is going on in America. … Here’s the thing though, they’re from Melbourne. It really serves to hammer home the homogeneity of the problems of the world (at least the Western World) Despite the gravity of the content, the band, thankfully, isn’t humorless. Tracks like 3. The Last Gasp Of An Entire Scene, Neutered and 12. This Free Music Download Brought To You Courtesy of Metallica’s Lars Ulrich let in some welcome cynical comedy. So here’s what you get 16 tracks of punk rock that is about as real as anything out there. I detect a lot of H2O and Down by Law as I’m listening to it. Of note, this disc was mixed at The Blasting Room. There is something magical about that place I tell ya. Cheers to Damn The Empire for a damn fine disc from Down Under and for uniting the world one punk rock song at a time.
–Jerry Actually
