Lizard Brain Trust – The David Christ Memorial Indoctrination Fund for the Cure

Twitter can be a pretty dark place. The name itself lends most people an immediate visceral reaction of disgust, conjuring up an image of Elon Musk’s stupid head, and blue check mark American fascists hating on, and blatantly lying about, all that is good and decent in this world. Yuck. However, it’s not all bad, and there’s a reason a lot of us are still on there. Meeting interesting people from around the world to share music with is still pretty fun, it turns out. That’s how I wound up writing reviews here on Upstarter (thanks, Jerry). It’s where I met my main lasagna man, SST. Without Twitter I wouldn’t know a bunch of cool guys named Steve, a mysterious international man of leisure named Scotch Chalice, fellow China Drum and Leatherface enthusiast Dave, a guy with a hybrid Miami Dolphins/Strung Out tattoo, friggin’ Seaweed Pat, chef Dan in France, the real kings of New York Pedro and SJ, Mike, Green Corn, PhD, Alex, Kenosha Andrew, a bunch of cool people in Japan, Branch, 62 lb, Broken Locker Mike, the list goes on and on. A couple weeks ago, one of these Twitter acquaintances named Seth, whose band Lizard Brain Trust just released a new album, was nice enough to mail me a physical copy of their new CD. Not to be reviewed, but just because he’s a nice guy who wants to share his music. I’ve been listening to it so much in the past few weeks, I thought I should tell you about it. 

Lizard Brain Trust are a punk band based out of Lawrence, Kansas, and this is their first full length. As its bizarre title might suggest, “The David Christ Memorial Indoctrination Fund for the Cure” is pretty weird, and falls into the Pere Ubu/Butthole Surfers side of punk. The CD has a mission statement of sorts underneath the clear plastic of the digipak that I think pretty accurately captures its vibe. It reads, “You can stockpile every option until it’s meaningless, trade it in for your own void. Does the world just spin out of orbit, throwing all of us, the shitty monkeys, back into space to freeze or fry, choking on our stupid plans? American exceptionalism, jingoistic propaganda pumped down our throats. Some is subtle and some is Lee Greenwood’s corn nightmares. We’ve tried to do something that speaks to our anxieties as humans living through this shit show, hoping for better things and pretty bummed out about how they are.” 

Although abstract and corn-nightmare-referencing at times, “The David Christ Memorial Indoctrination for the Cure” is quite topical and lyrically poignant. The album touches a lot on far right political toxicity in American culture, but more specifically on the human response of anxiety from living through this incredibly stupid timeline of history. I think it can sometimes be difficult to write songs about omnipresent current events without being vaguely cringey, but Lizard Brain Trust manage to do so in a manner that’s relatable and effective. On the song “Honest Liar” in a Travis Shettel from Piebald-style vocal, “If you really think you’re right, why are screaming?”. I also enjoyed the line from the third track on here, “Evangelical tiki torch burning in the lawn, traded your god for a gun.” There are other allusions to the politics of gun control on here as well. “Now close your eyes, just like your mind. Your thoughts and prayers have made you blind,” from This Place is Cursed says a lot about what’s going on here. 

Not all of “David Christ” is so serious. There’s a short acoustic number where the only chorus is repeating the name of the principal from Saved by the Bell, and a mysterious Pixies meets Pere Ubu number called “Southern Bulgarian Milk”. “My Brain is Sick” is straight up 80s hardcore, but opts to only have electric guitar and vocals. It all works though, and despite the darkness of some of the content, there is a real levity to the songs. The pacing, variety, and style of the album reminds me a lot of a Tenement record, or even Zen Arcade. Some songs come across as just demoed fragments, but they’re all pieced together nicely along with the more polished gems and some cool horror/8 bit video game interludes. I hear a lot of Love Battery here too, which is definitely a good thing. “Beach Day” is probably my favorite track on the album, a super catchy upbeat number with a sweet bassline. 

Even with all the oddities, there is really no significant dip in this album from front to back. Most of the time I put it on, I find myself listening to it all the way through. With repeated listens, this has come to also include singing along and dancing. There’s something about this album that’s just so enjoyable. What I can find of them on the internet seems to suggest that they live up to their self-described moniker of “weirdo rock band” when playing out too, adorned in religious robes and upside down crosses. They have some summer shows lined up in Kansas and Colorado that I would suggest you check out if you’re anywhere nearby. Otherwise, pick up a copy of the CD from Dumb Ghost Recording Enterprises (who also released the excellent Curious Things album this year) on Bandcamp, or give it a listen on any of the major streaming platforms. Highly recommended. 

–Zach Akenson

Social Distortion Postpone Summer Tour

Today, legendary OC punks Social Distortion announce that they have postponed their upcoming North American headlining tour due to the stage-one tonsil cancer diagnosis of vocalist Mike Ness. As he recovers from a recent surgery, the band is also temporarily halting the recording process of their eighth studio album. The previously announced tour, set to kick off on June 30th with support from fellow California rockers The Bellrays, is now being rescheduled for future dates. Check out the emotional statement from Ness below: 

“We think that life is going to go according to our plan, but it has a way of saying “I don’t think so!” 

In the midst of pre-production, I was diagnosed with stage one tonsil cancer. I was feeling well enough to continue with recording in the studio up until the very day before surgery.  The band and I were so inspired and excited to lay down these tracks, which by the way sound f-ing AWESOME!   

The recovery from surgery is a day-by-day process and in three weeks we start radiation and that should be the last therapy I need.  The team of doctors are certain that once finished with this course, I will be able to start the healing and recovery process.  We expect a full recovery enabling me to live a long and productive life.   

It breaks my heart to post pone tours, and this album release, but time is required to heal. I can’t thank our loyal fans enough who have been waiting so patiently for this. While it will take a little longer-I promise you that it will be delivered and it will exceed your expectations.  

I want you all to know that this has opened my eyes to a whole new struggle.  I know it’s one that many of you or your loved ones have personally endured, and my heart goes out to you-because I now know what it’s like from this heavy experience.   

I’m surrounded by love and support from my friends and family ESPECIALLY my lovely wife and incredible boys (oh and don’t forget my 3 dogs and kitty)  THANK YOU ALL in advance to our unbelievable fans for YOUR love and support right now.  ♥️ 

We WILL get through this….” 

Formed as rebellious teenage punks in the working-class suburb of Fullerton, California, Social Distortion survived their tumultuous youth to pioneer an undeniably honest and fiery brand of rock ‘n’ roll that would incorporate outlaw country, classic seventies punk and primal blues. Seven studio albums and countless electrifying live shows have earned the band a dedicated worldwide fanbase and catalog of timeless anthems including “Story Of My Life,” ”Ball And Chain,” “Prison Bound” and more. The band’s last release, Hard Times and Nursery Rhymes entered the Billboard 200 at #4 and in 2019 they celebrated 40 years as a band. 

For More Info On Social Distortion Visit: 

WEBSITE | INSTAGRAM | FACEBOOK | TWITTER 

ZEKE – New single “Ride Hard Ride Free”

Short, fast, loud, ZEKE!

New single “Ride Hard Ride Free”
due out June 9


Seattle punk legends ZEKE return with new recordings. “Ride Hard Ride Free” contains two tracks laced with ZEKE’s signature mix of turbo-charged thrash-punk and Motörhead possessed rock n’ roll and provides the first taste of ZEKE’s new album, which will be released later this year.

In 2022, ZEKE was unexpectedly reborn with founding members Blind Marky Felchtone (vox/guitar) and Donny Paycheck (drums) returning to the drum kit. They went into the studio with Jason Freeman (bass) and Jeff Hiatt (guitar), they were with ZEKE before and got back in, to record a new album. The first single “Ride Hard Ride Free” is everything you’ve come to expect – or want to hear from ZEKE.

A full-on thrasher celebrating speed in more ways than one, “Ride Hard Ride Free” has a very sharp style, with the band takes cues from old Motörhead rlffs, then fusing it with hardcore punk roughage. A modern ZEKE classic. They tie in here stylistically with “Death Alley”.

Produced by Jeff McNulty (Screamers, Blöödhag, Hell Bent For Letters) at Soundhouse in Seattle, WA, and mastered by Joe Bozzi at Bernie Grundmann in Los Angeles, CA. Cover photo by Mike Mitchell.

“Ride Hard Ride Free” will be released via Hound Gawd! and distributed by Amped (US/CAN), Rough Trade (DE/AT), Phonag (CH), Plastic Head (UK), Kuroneko (FR), Compact (PT), Border (Scan), PIAS (BeNeLux), Gran Sol (ES), Heathen Natives (GR), Audioglobe (IT), Hangfelvetelkiadó Kf (HU), Matrix (SI HR, RS) and Disk Union (JP).

The tracks are not available on Spotify, Apple Music and other digital platforms.

ZEKE recently completed a successful West Coast tour. The band also has a number of high-profile European performances scheduled in the coming months, including Sjock Festival in Belgium and appearances at Pitfest in the Netherlands and Sardina Fest in Spain. The group will return to America later this year. Stay tuned to www.zekeyou.com/tour for further details.

Ride with Zeke!

“Zeke are the dive bar that’s survived onslaughts of gentrification, knowing that the charm of lawless riffing and broken bottles never fades.“

– Pichfork


Visit ZEKE online:

https://instagram.com/zekeband

https://www.facebook.com/ZekeBand

https://www.zekeband.bandcamp.com

The Neanderverbs – S/T

The front cover of this new EP from Virginia’s Neanderverbs has a hot rodding caveman on it. Without even listening to it, you might already have some assumptions as to what it sounds like. Anytime an angry cartoon is driving a vehicle on an album cover, it’s going to sound a little bit like Electric Frankenstein. Although that does reflect the general tone of this record, there are also several other components about this band that make them unique and worth your time. 

First of all, there’s a cover of an L7 song from their 1997 album The Beauty Process. I wouldn’t have necessarily drawn the comparison had they not covered this song, but Neanderverbs definitely have an L7 attitude and style to them. Which is to say, they play angry rock and roll and have very sick riffs. The kind of riffs that get stuck in your head all by themselves. I’ve found myself humming a couple of them around the house today. 

Musically overall they remind me of the surprisingly excellent Sonics reunion album that came out several years ago, along with some Deadbolt thrown in there too. Reverb-y huge riffs all day here. Actually, just for 16 and a half minutes. There are only six songs, including the L7 cover, and an instrumental song that has more than enough to it to hold your attention.

The vocal delivery and style are what I think make Neanderverbs a bit of a unique mutant. The singer sounds straight out of early 80s SoCal hardcore, which isn’t typical for the genre. He’s probably most similar to Henry Rollins, but I also hear some early Milo in there, or maybe the dude from Reagan Youth. Lyrical content reflects this as well. Here’s an example from the opening track:

“marketers are a bunch of liars
while the suckers are all us buyers
we’re the victims of subterfuge
in the end you know we’re gonna lose”.

Also, from the song “T. Wrecks”:

“I’m user friendly and vain
a slave to the mundane 
feel like I’m living my life on a leash
there’s no way to appease”.  

If you consider how effectively Neanderverbs transcend geography and time to bring together these disparate genres of punk, while distilling them down into 16.5 minutes for your listening pleasure, you’re actually saving time by checking them out. Recommended.

–Zach Akenson

The Melders – S/T

The debut self-titled EP from Portland’s The Melders throws down five tracks (17 minutes) of guitar-driven, punk informed, heavy rock and roll. The tunes are uptempo with a lot of snarl and attitude. The rhythm section is solid, and the guitar work is rife with hooks and changes.

According to the band bio, The Melders is a punk rock-n-roll band from Portland, OR. The band formed in June of 2021 with Luke Valley on vocals and guitar, Guil Halstead on guitar, Marcus Irland on bass and Matt Danger on drums.

When COVID hit, it led to the demise of Luke and Guil’s 16 year project My New Vice but they weren’t ready to hang it up. They contacted long time friends and fellow musicians Marc and Matt. They knew it’d be a great fit; you know who you’re working with, what you’re going to get and that everyone can get along.

I struggle to offer comparisons sometimes, and sometimes comparisons aren’t really fair. They can, however, provide a loose relatability for an unfamiliar artist. With that in mind, The Melders make me think if Stone Temple Pilots would have been a punk band, or perhaps a more melodic Welch Boys. Do with that what you will.

Aptness of comparisons notwithstanding, I dig it and am looking forward to hearing more from The Melders. The debut EP is available now on all your favorite streaming services, and probably some streaming services you’ve never even heard of. Go on, give The Melders a whirl. You’ll dig it.

Cheers!
Jerry Actually

Tracks:
1. Oil The Snake
2. Codswalloped
3. Stitched Apart
4. The Empty
5. Moons Die Here

Members:
Luke Valley – vocals, guitar
Guil Halstead – guitar
Marcus Irland- bass
Matt Danger – drums

SUBHUMANS ANNOUNCE U.S. TOUR

SUBHUMANS ANNOUNCE U.S. TOUR
COP/OUT AND UPCHUCK TO SUPPORT ON SELECT DATES
SIX LPs REISSUED EARLIER THIS YEAR
Emeryville, CAMarch 21, 2023 – Legendary punk band Subhumans announced a United States with support from Cop/Out and Upchuck on select dates!

This tour comes after a reissue of Subhumans’ first 6 LPs which were all remastered from the original tapes. These records were pressed on several different versions with fans from around the globe quickly snatching up copies. Additionally, a limited edition box set featuring all six records plus an exclusive 10”, slipmat, and 52 page book was released and sold out in a matter of hours.

Subhumans have more surprises and plans throughout the rest of 2023 and beyond so fans will be waiting with anticipation for subsequent announces from Dick Lucas and the rest of the band.
Catch Subhumans live:
May 26 – Minneapolis, MN – Uptown VFW (w/ War//Plague, Cop/Out, Surrogates)
May 27 – Milwaukee, WI – Cactus Club
+May 28 – Chicago, IL – Cobra Lounge
+May 29 – St Louis, MO – Off Broadway
+May 30 – Indianapolis, IN – Black Circle
+ May 31 – Cincinnati, OH – Legends
+June 01 – Cleveland, OH – Grog Shop
+June 02 – Millersville, PA – Phantom Power
+June 03 – Washington, DC – Black Cat
#June 04 – Richmond, VA – Richmond Music Hall
#June 05 – Carrboro, NC – Cat’s Cradle
#June 06 – Columbia, SC – New Brookland Tavern
#June 07 – Atlanta, GA – The Earl
June 08 – Jacksonville, FL – Jack Rabbits
#June 09 – Orlando, FL – Will’s Pub
#June 10 – Tampa, FL – Brass Mug
#+ – w/ Cop/Out
# – w/ Upchuck

ABOUT SUBHUMANS:
Subhumans are one of the most influential bands from the UK Anarcho-Punk scene of the 80’s, filed right alongside Crass and Conflict, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them – Punk, UK82, Crusty, etc, – there lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes.

Forming in 1980, recording and releasing a series of live and demo cassette tapes on their own Bluurg label, they continued to release music throughout the 80’s – building a powerhouse of a back catalog that completely stands the test of time.

Their debut LP ‘The Day the Country Died’ (1983), with its Orwellian influence, is considered by many to be a classic and has sold in excess of 100,000 copies. The second album, ‘From the Cradle to the Grave’, came swiftly the following year (1984), and although the same frenetic pace is in evidence, this marks a significant musical development for the band.

In 1985 Subhumans broke up, citing the usual musical differences, although had managed to release a third, maybe ironically entitled, LP ‘Worlds Apart.’ A final LP was released posthumously in 1986, ‘29:29 Split Vision,’ a further demonstration of how far the band had come musically from their initial leanings.

Dick Lucas subsequently joined Culture Shock and then formed political ska-punk band Citizen Fish in 1990, both bands releasing many albums, and still playing today. Subhumans had a couple of reunion shows in the nineties, before a more permanent return for the 21st century, including several major tours of the US, the first resulting in the ‘Live in a Dive’ LP.

The Subhumans then released a further studio album in 2007, ‘Internal Riot,’ again on Bluurg Records. The band is still passionate and angry, illustrated by Dick saying “Being in a band is the source of most of my passion and drive! The live experience of sharing it with people keeps it ongoing, the release of anger, frustration and initially negative/destructive states of mind is a release from the downward spiral of keeping it all bottled up and it feels positive/constructive as a result.”

In 2019, Subhumans released their latest record “Crisis Point” on Pirates Press Records, an album that displayed ferocity and poignancy which demonstrated why Subhumans have been one of the most famed punk bands of the last half-century. Filled with the same energy that Subhumans have embodied since the early 80s, “Crisis Point” took its place alongside their other classic records as a fan-favorite album.

Upon the release of Crisis Point, Subhumans have toured Europe and the U.S. extensively, including an appearance as part of Pirates Press Records’ “Rock The Ship” event where they played aboard an aircraft carrier, which can be recapped in this video.

Toronto’s Debt Cemetary Unveil New Single ‘Let’s Murderlize ‘Em!’

Debt Cemetary strikes again with the aggressive new single “Let’s Murderlize ‘Em!”. This hard-hitting release explodes with huge vocal harmonies and ripping guitar riffs that soar throughout the track.
Inspired by the height of the civil rights movements that spanned across the globe in 2020, the song reflects the thoughts and feelings of guitarist/vocalist Eddie Knowlton. Mixed and mastered by Matt Gauthier, this latest release from Debt Cemetary shows a new side to the band while keeping true to their original and unique brand of fast punk.

This latest single is further proof that Debt Cemetary is on the rise to bigger and better things.

Public Serpents – When Pigs Lie (Official Music Video SBÄM Records 2023)

New Jersey crust-ska punks Public Serpents (featuring former Choking Victim member Skwert Gunn) released their new song and video “When Pigs Lie” today. The video was shot and edited by Benjamin Clapp. Watch it below.

Dead End Drive In – A Worthwhile Endeavor

2022 has been, in my opinion, one of the best years for new music since the turn of the century. Especially the last few months, I feel like I keep coming across a new album that just blows me away and I put it on every chance I get. No more NPR and podcasts on the drive across town, too much excellent new music. I’m overwhelmed by it at the moment. I’m a busy man, I have a family. I don’t have time for it. You can imagine my annoyance when I was tasked with reviewing this new Dead End Drive In, put it on, and it just absolutely fucking rips end to end. Goddamn it.

I’m embarrassed to write this review because I like this album so much. It will require some restraint on my part to not make it read like a bad puff piece. I swear I don’t know anyone in this band, nor do I owe them any favors. I keep listening to it trying to find something critical to say that doesn’t make me sound like an idiot, but whatever, I can’t. It’s great. Let me get this over with and tell you why I think so. 

The only thing I know about Dead End Drive In lies within the descriptor on their Bandcamp page, which reads as follows: “Punk band from Vancouver, BC. You know. That one with three guitar players. Gotta shred with existential dread.” This last line describes their sound appropriately. It appears to be their second full length, having also released a CD/digital album in 2018, and an EP in 2016. They don’t seem to have a presence on Discogs, which suggests they’re still a fairly humble outfit. However, their name is also comprised of a bunch of words from other band names, so it’s possible I just overlooked it. Their level of notoriety will change drastically if this record gets into enough ears out there.

The opening track has a sort of Frontier Trust sounding cowpunk vibe to it, and clocks in at 6:23. Pretty fucking bold for a punk band you’ve never heard of. It didn’t catch me first time around, but as I became more familiar with the rest of the album, I’ve really come around to liking it.  Just don’t give up on these guys if you aren’t blown away halfway through track one. It isn’t called “A Worthwhile Endeavor” because it’s a waste of your time. All these songs, many of which double or triple in length from your standard punk fare, are all part of a larger thing. I hate to use the term “concept album”, but this product is best consumed whole. Fast forwarding through the seemingly unremarkable parts would detract from your overall appreciation of the whole thing. Stick with it and you will be rewarded.

By track two things start to open up a little into more of a straightforward punk sound, but there are just so many cool parts, leads, and instrumentation to each song that it’s somewhat misleading to suggest it’s anything less than pleasantly surprising. Overall, I would say they sound like if Jon Kastner (Doughboys) and Tad Kuebler (The Hold Steady) were in Teenage Halloween. I also hear some Darius Koski Swingin Utters. I even have D. Boon written down in my notes here. I can’t quite put my finger on why, but I stand by this reference. This band can really play their instruments, and the more complicated parts positively contribute to the composition rather than coming across as cumbersome and indulgent. The quality of songwriting is just stellar. 

It’s hard to pick favorite songs on complete records like this one, but if pressed I’d say I prefer the back half of the album. Namely, “Dying Breed”,  “Before I Start Noticing”, and “God Forbid You Go off Script”. Nothing on here sounds redundant, and even at 10 tracks in 45 minutes it doesn’t feel overly long. On a couple of occasions I’ve even restarted it from the beginning and listened to it twice all the way through. 

I know people can get lazy buying new music for themselves around the holidays, but don’t sleep on this one. Who cares if it disrupts your album of the year rankings that only 12 people will read? It’s going to disrupt mine, and I’m grateful for it. I need a physical copy of this one, in case any of you haven’t got me a Christmas present yet. 

–Zach Akenson

Photo by Alice Hong

Alberta Canada’s Trashed Ambulance Release New Standalone Single “Cyntax Error”

Alberta Canada’s Trashed Ambulance has unveiled the new standalone single “Cyntax Error,” which follows on the heels of the band’s third LP, 2022’s critically celebrated ‘Future Considerations.’

The single is a loving tribute to Thousand Islands Records label co-owner and label manager Cynthia Charpentier, in honor of her recent birthday. The band says, “When a great friend/mom-ager turns 40, you have to make sure she feels the love. This song is an ode to Cynthia for always kicking ass and taking names while being the best gal East of the Saskatchewan River!”

Stream “Cyntax Error” here: https://bfan.link/cyntax-error.

Cyntax Error Written by Josh Hauta, Jason Ezeard, and Riley Bourne Guitar/Vocals – Josh Hauta Bass/Vocals – Jason Ezeard Drum/Vocals – Riley Bourne Additional Vocals – Casey Lewis Recorded at Echo Base Studio in Calgary, Alberta Recorded, engineered, and produced by Casey Lewis. Mixed and mastered by Casey Lewis.

Inspired by the likes of Pulley, Face to Face, and The Flatliners, Trashed Ambulance continues to churn out gloriously angry yet hopeful punk anthems! Formed in 2014, Trashed Ambulance has survived a plethora of member changes and hangovers to continue forging ahead as a reputable option in the Central Alberta punk scene.

With a handful of EPs, LPs, CDs, and cassettes already under their belt, the boys hit Echo Base Studio in Calgary to work with Casey Lewis (Belvedere) on their most recent LP ‘Future Considerations.’ To date, the band has shared the stage with such punk juggernauts as Face to Face, Belvedere, Voodoo Glowskulls, The Real McKenzies, The Murderburgers, and Ten Foot Pole and have even made an appearance at Pouzza Fest – Montreal’s annual premiere punk fest.

The guys already have some Western Canadian tour dates lined up and plan on terrorizing as many pubs, curling rinks, and bowling alleys as they can play this year.
Trashed Ambulanced Cyntax Error