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RECORD REVIEWS AUG./SEP. 2004

The Astroglides "Channel Surfing With..." CD
A surf punk band from....Israel??? Starts off promising, with displaced Eastern vibes merging with trad revival surf notes & bars, but then hits a Fat Wreck groove that I WILL NOT STAND FOR, even from a surf punk band from...Israel??? Some intersting shit on here, for sure, and it's nice to know that there's a surf punk band from....Israel??? (TK)
(Astroglides // P.O. Box 14542, Tel-Aviv, 61444 Israel)

Brainbombs "The Grinder" 7"
Disturbed initiates already know what to expect from the 'bombs: Heavy, psychotic, repetitive dirges that paint lucid images of murder, kill, fuck, die, rape, pillage, cannibalize, scourge, consume, destroy, ream, stab, bludgeon, eat at Joe's, curb job, decapitate, toilet paper pussy, and so on. Fun-time stuff. Musically, though, there�s a demento-flavored Stooges sorta groove (w/ occasional sax) that swings in a few different directions. If you're a sick fuck, you'll love it; likewise, if you're somewhat sane, dig repetitive two-ton drone and can overlook or laugh at the obvious sick fuckery contained therein, it'll grab your ear. Just make sure to hide the knives. (EL)
Longstanding foreign pig fuckers ooze out a new shorty. Basically, this (like just about everything they do) is hostile, extended drone-riff hypnotony. Not as pointed as their best logs, but a nice descent into hate & despiration. They really don't make music quite like this anymore. Now I'm just waiting for Kilslug and Drunks With Guns to hit the beat again. (TK)
(Ken Rock Records // www.ken-rock.com)

Catholic Discipline "Underground Babylon" CD
First official issue of any kind from legendary LA punk outfit featuring the late Kickboy Face. Everything here is live, mostly from the Hong Kong Cafe, and honestly sounds pretty shitty. An entire CD worth of stuff, and you're still left with nothing that even sounds half as good as the tracks from "Decline... Pt. I" (I guess Spheeris refused to allow the recordings from the film to be used). I think this band is more legend than anything, as it featured a heavy-hitting LA line-up of Bags (Craig Lee), Zeros (R. Lopez/El Vez), and Nervous Gender members (lesbian folk-singer Phranc), and basically sounds like a side-project for those involved. Kickboy was a real legend, but I suggest you listen to Spheeris' film while reading the great liner notes to this CD if you want some insight into the guy.(RK)
(Artifix Records // www.artifixrecords.com)

The Clocks "Time Is On My Side" 7"
The Clocks were and early eighties Cleveland band that featured Pagans member Mike Metoff and drew upon local legends like Devo, the Dead Boys, and the Raspberries, but still managed to sound 100% unique. The six tunes on this single are pretty damn eclectic, running the gamut from a fantastic double-time pop version of the Stones classic they took the title from, to the sci-fi new wave of 'Slave Planet.' My favorite cut though is 'Confidentially Renee,' a tune so perfect that it draws easy comparisons to both the Eat and late period Gizmos. If they ever made a 'Can't Stand The Midwest' volume two, this song should definitely be on there. As you might expect, this is limited and all of that jazz, so I'd get on this quick if you want to be able to hear this gem of a single. (SS)
(Shake Your Ass Records // [email protected])

Concubine Forming "The Guilt Will Kill" CD
Psycho punk rock with demented blood curdling screams/vocals (from a quiet fellow who has, on occasion, knocked himself unconscious onstage), a relentless dual guitar attack (oh yeah, and the infamous drum machine). Concubine Forming traveled from Buffalo to Memphis last year to record this long player�time well spent. The resulting onslaught is overwhelming in its general tendency to pierce and grate, while maintaining a real catchiness that grows more severe after repeated listens. Robotic, infectious and quite fierce, they recall very early Jesus Lizard and drugged out Butthole Surfers at times, hardcore punk mid-80's style at others�and often all at once. "The Guilt Will Kill" is a barrage of a lot of good things, but doesn�t sound like any of them in the delivery. Things get pretty dark on the nearly eight minute dirge, "March of The Robots" (itself charming as it crawls along the ground in its own waste), but are otherwise uptempo charges of self destructive mayhem. Highly recommended. And no, they�re not trying to be Big Black.(LB)
(Big Neck Records // www.bigneckrecords.com)

Crime "San Francisco's Still Doomed" LP/CD
I shouldn't have to tell you what the deal is on Crime, but for those of you who don't keep up on your history let's just say that Crime were one of the premier West Coast punk bands, if not the premier band when that scene was in its formative years (arguments are accepted for the Weirdos). Their combination of shit-hot sons of James Williamson riffs, driving rhythms, peerlessly snot-drenched vocals, well-crafted tunes, impeccable fashion sense, and pissed off demeanor more than earns them the title of 'San Francisco's First And Only Rock n Roll Band.' They were far better musicians than most of their contemporaries, which makes it a little easier to understand why they weren't embraced by the far more political base that formed the core of the scene at that time. Jealousy can be a bitch after all. With this reissue of 1990's impossible to find comp LP, John Reiss continues to make me think that maybe he's a cool guy despite that whole "RFTC" thing. Tack on alternate takes of their first single and you've got twenty-two songs that should be enslaving your ears for the months to come. Essential. (SS)
(Swami Records // www.swamirecords.com)

Detonations "Static Vision" CD
Looks like a Drags record. Smells like a Drags record. Sounds nothing like a Drags record. And I really wasn't expecting a Drags record. Even though Keith from the Drags plays drums in the Detonations. A heavy-garage hybrid, with lots of low end rumbling and not as much static as I'd hoped for. Even a Quintron guest spot and production by Jerry Teel don't really make it all that interesting. Hard sounding, but lacking in the catchiness department. This album makes me want to listen to something else. Like a Drags record. Man, the Drags were good. (RK)
At first I thought, "take the Ghetto Ways, subtract the 'soul' angle & chick, and add the Drags' drummer." I guess that gives you a little bit of an idea, but I'm not quite there. Pretty straightforward and (sorta) hard rockin' and streamlined, though songs like "Static Vision" sound at home with the current crop of art damaged p-rockers. Pretty good, but I like a lotta stuff better right now. Seems to lack a bit of personality, but they unquestionably "rock," whatever that means anymore. (TK)
(Alive/Total Energy Records // www.alive-totalenergy.com)

Dirty Switches s/t CD
Ultra-loud production. Furious and fast rock action. Gigantic fucking garage riffage. Titties. Ass. Dissing Jet in the press release. Essay on the health benefits of watching women's breasts. Apartment wrassling girlie pics swiped from Taschen's "Exquisite Mayhem" coffee table tome. Sond titles: "Bad Luck Loser", "Truckfuck", "Hairy Cup". I'll leave this one up to you, but I think I've been here before, and I didn't stick around the first time. (RK)
(Longhorn Records // www.cargorecord.co.uk)

Dr. Spec's Optical Illusion "Tryin' To Mess My Mind" 7"
The 60s garage fossils over at the garagepunk.com forums seem to think that this is the A+ way to re-release a '66 nugget - some mastering voodoo that matters only to them, a buncha' pics they can box the clown to, and meaty liners to wax nostalgicta'. "They just don't make music like this anymore," they weep. No, they actually make a lotta better shit (to go with the massive crapmess, let's face it). One of the songs was on a volume of "Teenage Shutdown," and it's good, but never stood out on the volume or anything. This ain't the Keggs, or Swamp Rats, or Sonics, or anything like it, but it's good organ raunch (as the Crypt catalogue would likely put it). Me, I like it. Summa yuz may not. Both songs are about equally tasty, and as an intersting sidenote, they've apparently begun playing shows again in their New Orleans hometown. (TK)
(Crypt Records // www.cryptrecords.com)

The Dream Dates "The Mess You're in" 7"
More archival stuff ('79) from this Toronto (?) unit. Not quite as good as the first single U-Pop put out, but the title track's a nice Heartbreakers-esque crawl, and they actually pull off a decent cover of "Search and Destroy," mainly due to a pretty damn good lead guitarist. Much better than a lot of other shit being dredged nowadays, so if yer a KBD junkie, pick one up, Tonto. Cover's nice to gander at, too. (TK)
(Ugly Pop // www.uglypop.com)

The Dwarves �Must Die� CD/LP
Sliding quickly down the slippery slope towards Weird Al style novelty rock are The Dwarves who shit out an absolutely ridiculous full length with �Must Die�. The title�s gotta be prophetic as I can�t see what label-dude in their right mind would consider putting out a Dwarves release after hearing this shit-turd of a record. Musically this is an extension of the not that bad �Come Clean� with a mix of pop and straight up 80s hardcore song structures but the hints of wackiness added to the songs on the last record have grown into atrocious parodies of Gen-X radio styled hardcore and rap-rock on many of the songs here. Out of the fifteen tracks, a couple could be OK if they didn�t have a twist that completely ruins the song, like when that jackass from The Offspring starts singing, completely ruining the otherwise good �Salt Lake City�. The only redeeming aspect of this record are the nudie shots of some incredibly attractive models, but the multiple penis shots (midget dink!) will likely kill any tingling that starts in your pants. The promo text says �eclectic, original and downright bizarre� which you know is just code for �shit�. Does Long Gone John need to pay some bills? (JG)
(Sympathy for the Record Industry // www.sympathyrecords.com)

Fatals "Angry" 7"
The first time I put this record on I was stopped dead in my tracks. The opening riff of "Angry", with the most ear-splitting, garbage pail-dirty guitar sound I've heard in ages, was shock enough. Even more awe-inspiring was the abso-fucking-lutely savage jet-propelled drumming. The bile-on-the microphone vocals were a definite plus. What put this record over the top though, was the fact that all of this raw energy was bridled into eminently memorable and catchy songs. Despite the fact that these songs would still sound great played by a "regular" band with "normal" production, any concept of terms like "songwriting ability" goes down the john like yesterday's booze and barbeque binge when one is subjected to the sonic bombast of the Fatals. Just one listen to the drum breakdowns in ''Angry" and "Can't Change My Style" and I became an addict to the Fatals' aural assault quicker than you can say "best French band in years." Of course this is desperately hard to find in the US, but what's even more desperate is the thought of not owning this record. Get this at all costs.(SS)
(Nasty Product // www.nastyprod.com)

Frantic Attaque 7"
Apparently hardcore is making a comeback. This fits right in with the Holy Shit!, No Hope for the Kids, and Regulations records that have been prickling ears lately. Straight Eighties hardcore attack, with all the usual reference points (Flag, Threat, etc.), but this time from the South and not LA or DC. 3 tracks, including the brutal "Ghoul", the more melodic HC of "Turn Your Head", and the hyper-speed crush of "I'm A Waste", with intense vocals and thrashing guitars over all of it. Very unexpected, and pretty damn good. Soon to be appearing in Mitch Cardwell's record collection. (RK)
(Die Slaughterhaus Records // www.dieslaughterhaus.com)

Frantix "My Dad's a Fuckin' Alcoholic" CD
Colorodo slug-core from '81-'83. The title track and "Dancin' to Punk" are slow burning punkers that are simple yet catchy as Lastname's latest bout with syphillitic eye cancer. The other ones are all, I dunno, sorta bland hardcore that really doesn't snag me much at all. REALLY liked the aforementioned tunes ("...Alcoholic" has been a household fave for years), just disappointed that they didn't drag the formula across more songs. (TK)
(Afterburn Records, GPO Box 3222, Melbourne, Australia 3001)

Gazelles Demos CD-R
I normally don't think it's a good idea to review demos, but when a band goes ahead and sells them to distributors I figure it's fair game. I've heard good things about these guys, but quite frankly this just doesn't have what it takes to get my panties in a stir. The Gazelles are capable of writing some good riffs when they want to, but beyond that there's nothing else to hold my interest in the majority of these tunes. 'Jagged' and 'Plastic Panthers' are both pretty good songs, but snooze fests like 'Why Don't You Move To New York' and 'Black Skies Blue' that make me wonder if the Gazelles are quite sure what they are going for. Overall it seems like they think they can coast by if they dress up some "rawk" riffs with a few post-punk flourishes, which ain't exactly a formula for success. "Jagged" is pretty fun, so maybe if they keep things melodic they might be on to something. As is I'd recommend saving your money for the Outs CDEP.(SS)
(self-released)

Gazelles "Pink Notions" 7"
Surprising entry into the Goodbye Boozy catalog. Like Trickknee I seem to remember these guys as being mentioned in the Neosporin-ific ravings of Shawn Abnoxious. Heavy on the alliteration ("Pink Notions" b/w "Plastic Panthers") and heavy on the art-damaged Ohio-vibe. Not as abrasive or out there as the Piranhas, or as brutal as the Functional Blackouts, but filled with slow-downs and speed-ups that build into something more interesting than your average punk-fuzz. Not completely spectacular, but still interesting. (RK)
Remember when Shawn Abnoxious used to blather about stuff & junk over at BlankGeneration? I sorta do, but I gotta admit that I actually READ about 12% of those tracts, and retained far less than that. I do know that Gazelles (from his general hometown area, I think) were mentioned a lot in glowing terms, and I was unsure of what ta' figger about 'em. I'd never seen a piece of vinyl by 'em until I got this pup in the mail, and you know what? It's pretty fuggin' good! Fans of the (shit, whaddaya call it? Neoferal? Bamteric?) Sick Fits 'r John Woo 'r Functional Blackouts would like this A LOT. These guys have been around a good amount of time, and it shows in the songwriting - lots of fuckedparts, but it still congeals into song. Both tunes are good - you'd dig it, jizz. (TK)
(Goodbye Boozy // [email protected])

Green Fuz "Green Fuz" 7"
One of the more legendary Pebbles cuts gets a re-release on (der) green vinyl. Not sure how long ago this came out, but if you see it, go for it. Incompetent TX bumpkin gay-rage from that, you know, era. Sounds really good....I mean, in comparison to the underwater Pebbles sound. This is more "a couple rooms down" than anything else. I guess they had to turn waaaay down to record this because of the echoey room or something like that, and it gives "Green Fuz" a warm alien quality. The b-side's sorta boring, but has amusing lyrics. (TK)
(Norton Records // www.nortonrecords.com)

Guitar Wolf "Loverock" CD
The latest from the Wolf, available domestically from the fuckers at Narnack Records. Honestly, I haven't bought a Gutar Wolf album since "Planet of the Wolves". I thought I had heard all Gutar Wolf had to offer. I guess I was right and wrong. "Loverock" is nothing new, adhering to the patented Wolf formula, but it's also done so well you can't help but love it. The band produced this one themselves, and it sounds super loud and ferocious. A sampling of insane song titles: "Time Machine of Tears", "Midnite Blood Pump", "Katsumiya Tobacco City". The title cut flat-out roars, and the rest of the whopping seventeen tracks offer more of the same to varying degrees, and it's hammer down from start to finish. Crazy, crazy, rock and roll, and it's alright with me. Notes: look for Seiji sporting a Goner t-shirt on the insert; and for hardcore Wolf devotees, Narnack will be reissuing their 2000 album "Rock'n'Roll Etiquette" later this year, remixed and remastered by Seiji.(RK)
(Narnack Records // www.narnackrecords.com)

Headache City "Knee Jerk Reaction" 7"
I thought this unit was really good at the Blackout, but this is WAY BEYOND that. Shit, for sure the single I've played the most this year. The most when I'm trying to wake my ass up in the morn, the most for pals who stop by the mansion, the MOST, daddio! And everybody agrees - it's a GREAT record! There's definitely a "Chicago feel" to this disk that I can't quite put my fingers on (they double bill nicely with the Ponys, for example). I dunno, think Modern Lovers organ groove on a couple of these confections ("Knee Jerk Reaction" and "6 Tears"), 'n "High Rise" brings me back to the days when Chicago label Ajax was putting out indie rock that sounded more legit than anything "garage" or "punk" floatin' about at the time. Enough! Just buy it, pissmop! Can't wait for the album. (TK)
(Shit Sandwich Records // www.shitsandwichrecords.com)

Henry Fiat's Open Sore- 'The Parallel Universe Of�" LP
This came out awhile back, but I haven't read any reviews of it and figured I might as well do what I can to spread the word to those of you who still haven't gotten on the ball. This is my favorite record by HFOS to date due to the fact that they went and wrote some killer melodies to go along with their amphetamine-charged blasts. The results are stunning, especially on tracks like 'Proto Geek,' 'Call Me Bastard' 'Wrong Direction' and of course 'I Was a Teenage Pretty Boy.' They get ultra bonus points for both the Damned cover, the 'Sling Blade' sample, and still having some of the best song titles in rock n roll. Super retarded fun that will undoubtedly be in my top ten this year.(SS)
(Raw Deluxe // www.theerawdeluxe.com)

The Homosexuals "Astral Glamour" 3xCD
You �n� me both know that alla the record nerd mothers have kindly trudged atop Mount Proclaimo and suggested � nay, demanded � that we simple folk pick this up. If you must, sell spunk, blood, siblings; this is the apex o� Brit D.I.Y. art-driven punk rock and you�ll probably invoke the wrath of Ari Upp w/out it and so on and so forth and you know the drill. Truth be told, the Homosexuals seem to me like an inferior (and, take it as you may, far less masculine, far more Bowie-inspired) peek into the same territory similarly investigated by Swell Maps, whom I love. There are interesting moments, for sure, and even moments of greatness (� Technique Street� is prime SM-sounding spazziness), but there sure as hell aren�t 3 discs worth of mentionables. Actually, I�m not even sure what the 3 discs are full of, because I find myself turning this fucker off halfway through disc 2 EVERY TIME I ATTEMPT A FULL LISTEN OF THE SET. If you�re uncertain like I was, stick with the superior alb proper and save the 23,000 rotten pennies. If you�re already a fanatic, then you bought this collection long ago and can duly dismiss this review as horseshit. I look forward to your hatemail. (EL)
(Hyped to Death // www.hyped2death.com)

Hunches "Fuck Disco Beats" 7"
Great companion single to this outfit's latest amazing full-length. The title track sez it all -- a noisy, angry punk r'n'r blast of kitchensink whathaveyou that lays waste to all things worth laying waste to. Also here are one of the alb's best tracks, the sweet yet pulverizing "When I Became You," and a strange, brooding burner exclusive to the 45, "Jakob's Voices." Oh: If yer looking for a reference point, I'd say this band sounds like the Hunches. Now scrape the change outta yer pockets and buy. (EL)
(In the Red // www.intheredrecords.com)

The Hunches "Hobo Sunrise" CD/LP
Incedible? Sure. Better than the first? I think so. Without doing so much different, The Hunches have managed to make a sophomore album that expands on their existing sound without making any radical changes. Maybe a little weirder, a little prettier, but still good and ugly. Plenty of shitbox-stompers to keep the blood flowing, all balanced with their pure moments of murder-on-the-traintracks pop that are not exactly disconcerting but almost frightening in their beauty. Hart switches from his guttural hobo-croak to ear-blast screaming at the drop of a high-hat, just as Chris has the ability to switch from delicate picking to amp-crushing feedback debauchery in seconds. Contrasts. Balance. Textures. Incredibly noisy, yet not off-putting. It's like getting your ass kicked by your best friend: brutal yet familiar. Strange without being pretentious, arty, or overly difficult/dense. Everything you hope a band to be in this moment in time. Also one of the best live bands I've seen in years. Total package. Along with Lost Sounds, the high water mark for modern music. Notes: great booklet full of drawings/photos that match the music perfectly; it just dawned on me that Mike McHugh recorded both the Hunches and the Necessary Evils, the only other band whose sound I could say loosely describes what the Hunches sound like at times. Hmm. (RK)
Comb yer shelves and state yer case, but no one sounds like the Hunches. Currently, no one is as real as this band, either. No one can come close to attacking on the same level, and when others even attempt it, it�s painfully obvious that it�s a total farce, a shuck, a put-on. Whereas other bands calculate moves into specific moods or approaches to r�n�r � punk, chaotic noise, garage, pop, etc. � the Hunches simply ARE. They span the spectrum because they don�t even have to try. They occur naturally, like a goddamn fire-breathing hurricane on your trail.
The band hasn�t changed � in sound. There are still moments that recall VU/Jesus and Mary Chain sweetness (�Droning Fades On,� �When I Became You,� �Nosedive�), elements of early Clevo punk/weirdness (the Electic Eels-ish �I�m an Intellectual,� the somewhat Pagansesque �Frustration Rocket�), bluesy stingers that aren�t quite blues (�She Was a Surgeon�) and balls-out unclassified hatepunk anthems in between (�Insectual Hum�). There are also, of course, still moments in which the entire band pushes everything over the edge and threatens to choke you up with its own sense of schizo fury (�This Human Propeller�), Hart�s howl at full mast, Chris pulling an ugly mess outta his guitar, Sarah and Ben holding the brutal rhythm, now ready to snap like a pencil neck weakened by age, laziness, osteoporosis. The entire din is couched through and through in background pipe-bang noise not unlike something birthed by Pussy Galore and fathered by Rev and Vega. Similar to these groups, they take you �round the block, slip you a pill, lead you back again. Effortlessly, beautiful to brutal to beautiful again, sometimes mid-tune. And it�s fun and sad and pissed-off and moving and liberating and, well, it matters.
What has changed is that the band�s honed its attack. But if you�ve seen them lately, and you�ve paid attention to what they�ve been doing � especially Chris and his ferociously odd, incomparable guitar playing � heard an unconfirmed rumor that he briefly tutored under (get this) Zoot Horn Rollo, which just makes sense � you won�t be surprised. You expected it all along. And you�re spoiled now, everything�s spoiled, this band ruined you. But you can�t help but thank �em for the blown mind. (EL)
If you're even reading this (after the tracts of shite my "colleagues" likely breathed above [maybe] and below [could be]), the winning lottery numbers are 7, 32, 44, 50 and 53. I don't need to tell you how great this band is, because if you've ever read TB or BlankGeneration before, you KNOW that they have all of us hypnotized. The million dollar question - is it better than the first album? I do believe it is. They sanded down some of the gunk obscuring the beauty (yes, beauty) and brutality (this is not easy listening), turned up the tunesmithery one notch, and unleashed an incredible record. As a dottering old man, very few bands get me crazy-excited anymore (I do LIKE a lotta stuff, though), but the Hunches really deliver something different and personal on here, and do it with an insane amount of energy. I could list off my favorite tunes, but frankly, they're all great, and this really plays well as an album (a concept unfamiliar to most bands at this juncture). The most essential piece of music released this year, and I ain't blowin' smoke, fucklump. (TK) (In the Red // ww.intheredrecords.com)

The Intelligence �Test� 7�
Lars Finberg and the revolving door that is the rest of The Intelligence (here it�s Min from the A Frames, Dean from Double Fudge/Dipers and Dave from Scared of Chaka/Shins) are back with a short, but effective, two song hit single. Sounding quite different from the �Boredom and Terror� LP, this single finds The Intelligence, recently signed to In the Red, sounding more like they did on the quite excellent �Boyfriends and Girlfriends� 7�. �Test� is a two-minute lesson in repetition that gradually builds to the explosive chorus with Lars� distinctive whiny vocals leading the way. �Birdcall� is a fast, noisy, Dipers-like hit that�s over far too soon. 500 copies and they�re almost all gone, so act fast. Recommended. (JG)
Despite hating their debut album, I'm always willing to give band that writes a couple good songs a second chance. My mistake. Despite the aesthetically pleasing packaging, this is a horrible record. The title track just plods along with no real discernable point other than to take an incredibly annoying discordant guitar line and drive it into the ground. The next song "Birdcall" is a little better, but that's still not enough to make it any good. If you think a guy yelling the lexical gap "blebleble" over and over again sounds like a compelling verse, you're in luck with this tune. Just so fucking bad. Someone needs to slap the purveyors of vanity projects like this upside the head with their goddamn Eno and Can albums and let them know that it's not okay to charge four bucks for two weak-ass songs that shouldn't have even made it to tape in the first place. At least now we know why this band is called "The Intelligence" and not "The Songwriting-Ability." (SS)
(S-S Records // s-srecords.com)

Revered Charlie Jackson "God's Got It!" LP
What's this? Terminal Boredom goes gospel? I never thought I'd see that day either, but with a record as good as this I'd be asleep at the wheel if I didn't do my best to inform the masses about it's awesomeness. Rev. Charlie Jackson was a holy-rolling Baptist musician who recorded a series of singles in the late sixties and early seventies that were heavily influenced by the blues in addition to the requisite gospel. He also had a knack for writing funky, infectious guitar riffs to back up his powerful - at times spine-chillingly so - vocals. These recordings are so lo-fi and sparse they make Supercharger records sound positively professional in comparison, which only serves to magnify the impact of Rev. Jackson's naked emotion and dirty guitar riffs. Some of you might be turned off by the fact that pretty much all of these songs are about praising the Lord and whatnot, but the more refined amongst you should be able to sense that, despite the specific Christian inflection, performances as powerful as this speak to something within us that goes beyond religious beliefs (or lack thereof for most of us out there in TB land I suspect). Music gets no rawer than 'Testimony of Rev. Charlie Jackson' a heartrending tune about Rev. Jackson's arduous recovery from a stroke where he recounts how he almost died and "couldn't speak nothing" for a while after the stroke. It's kind of reminiscent of the Barbarians' tune "Moulty" only far more immediately touching. This album is a return to form for Crypt after the somewhat disappointing comeback LP by the Little Killers. Limited to just 500 so get this now or pay too much for it later when you get off your high horse and realize that sometimes Gospel can be as raw and exciting as anything on a 'Teenage Shutdown' comp.(SS)
(Crypt Records // www.cryptrecords.com)

The Kill-A-Watts "New Things" 7"
Fresh jive from the Wauwatosa rock machine that is the Kill-A-Watts. You know the story: broken up, Lowery promises he'sstill releasing the LP, etc...Ryan Kill-A-Watt is/was one of the finest distillers of punk-junk in recent memory, swiping from every possible source (the entire Rip Off catalog, '77 punk, power-pop, Japanese garage) and recycling it all into something "new" that sounds just as good as the original shit. "New Things" sounds a lot like Terminal Boredom-era Registrators, and even swipes some scratchy guitar parts from one (or is it all?) of their songs. "Addictive" adds some Dolls-y songwriting and a guitar solo into the formula to make a great B-Side. One of their best efforts so far, which makes it even sadder to see a young band that was constantly improving go down the shitter. At least we still have the Catholic Boys. (RK)
In case you haven't heard, this Milwaukee institution has cashed its chips. Yeah, it's been a long time coming - they tried to replace Jennifer with Paul Reject for a bit, but he was too pretty, so they stripped down to a 3-piece, and haven't really played a lot of shows lately - but this release (and the upcoming album) make this demise a fairly disappointing proposition. Ya see, for 6 years (or whatever) this band was PURE. Some would say "consistent," some might imply "stilted," but really, they were a Rip Off Records machine. Just when you thought you'd tire of the (let's face it) generic formula, they'd put out another record filled with fun & snotty tunes, and you'd realize that some bands just HAVE IT. What they had was a single-minded distillation of mid-period Rip Off Records, one of my personal favorite record label eras. So yeah, what makes it doubly disappointing is the fact that between this and the upcoming Rip Off release, they have a subtle new direction, which blows some fresh air on the proceedings. Hard to put a finger on it, but it's probably due to the stripped down line-up and Ryan's profession that he wanted to do a more "pop" thing. "New Things" steals liberally from the Kids song where they go "baby baby that's alright," and "Addictive" is just that. Cool stuff, and (among) the last yer gonna get. (TK)
(Goodbye Boozy // [email protected])

Knaughty Knights 7"
Second and probably last record from this Memphis gentlemen's club of a band. Contains one each from Jack (Oblivians, Tearjerkers, Cool Jerks, etc., in case you're not paying attention) and Rich (Lost Sounds, American Deathray, Reatards). Jackie-O gives us a slow-pounder, with a nice groove you setlte right into ("I Love it to Death"). Rich turns in a dirty rocker ("Going Nowhere, Going Fast") with a nice fuzzy hook that grows on ya. Both grimy and good in that Memphis kinda way. Not as stunning as their SSLD release, but solid nonetheless. Mastered by Memphis hit-maker Jimmy Jewelz. 500 pressed. (RK)
(Perpetrator Records // [email protected])

The Knockout Pills "1 + 1 = Ate" CD
Here's a band moving in a more pop direction, but unlike the razor-punk bands (think Teengenerate into Firestarter), this is what happens when a more organic, rock-based punker unit starts making the switch. I'm serious! You can't make this shit up! Anyway, they sound really good (as a band, and the recording's cool), and surf atop everything from the Marked Men to the Gaza Strippers (mainly due to the vocals). Enjoyable stuff, but not totally killer. I've heard from a lotta witnesses that these guys are a righteous rock machine live, and I believe it. Waaaay better than most current Estrus faire. (TK)
(Estrus Records // www.estrus.com)

The Knockers "Last Time" 7"
The way I heard it, legendary Algoma drunk Gus didn't show up to record this platter because he was off shitfaced somewhere. I've heard a lot of other explanations (mostly from The Man), but like that scientific dictum that goes something like "the most obvious answer is generally the correct one," I'm sticking with the drunk story. Luckily, it was being recorded by Mike Zink (Mystery Girls), who can basically pick up any instrument you'd care to name and, you know, make it do amazing stuff. Two of the songs on here feature Mike on drums (though he'd never heard the band before sitting at the kit), and they sound like the Persuaders squeezened through a rust-caked exhaust factory. Really great cover of "Rejected at the High School Dance" and a nice original. Casey obviously felt sorry for Gus, and recorded another tune ("Last Time") so's he could be on the record. Or so the legend goes. "Last Time" shows how a change in drummers can make a band feel completely different, as it's heavy and hard and thumping where the others are skip-jumpy garbageballs. I make up words. The Knockers are no more, but 3 of the dudes are now in the (super good) Hue Blanc's Joyless Ones. (TK)
(High School Reject // http://listen.to/hsr-records)

Leeches "Integratron" 7"
Farfisa-laden instrumentals from at least the third band called the Leeches that I know of. The A-Side is a sleep inducing track that reminded me of soundtrack music for a bad PBS documentary on circus clowns. The B-Side ("Ghost Ship") is kinda spooky, with a surfish break in it, but still not enough to wake you from your A-Side slumber.. At least it's over quick, as both songs are under two minutes. Excellent packaging, and a lovely brown shade of vinyl I wish more people would use, but sadly, this one falls into the colored vinyl turd category. (RK)
(Kapow Records // www.kapowrecords.com)

Lili Z. �Leatherlution� 7�
Mademoiselle Lili returns for her second release after the great self titled 10� from a couple of years ago. This record finds Lili departing a bit from her earlier sound as she takes a more synthesized approach, relying heavily on the beats and keys, with sparing use of a guitar. The result is a highly danceable record with two songs that sound like they could be Volt outtakes. The 4 track production sounds amazing and Lili�s creaky voice sounds as seductive as ever. My only complaint would be that each song goes on for a bit too long, a problem made worse by the reprise of the A-side at the end of the song on the flip. Still worth your bix though. Purdy photo sleeve, too! (JG)
"Leatherlution" is another sexy-synth manifesto from home recording enthusiast/temptress Lili Zeller, and is much closer to the dance-floor throb of Volt than Lili's other solo outings. I see no reason why this could not be a huge club hit. Just listen to Lili say the phrase "I'm sweating" or simply the word "rubber". It's all incredibly sexy. Lurid even. Aural pornography of sorts. Wow. The flip, "Gisela Malaria", has Lili adding distortion to her vocals and taking on a borderline industrial attack. Dangerous, risky and risque, and much different than anything else going on. If you would've played this for me five years ago and told me it was Lili from the Splash 4/No-Talents, I would've slapped you. Now you get slap me, because I find myslef liking it. This might be sold out already, so act quick, and stay hip to the Parisian sex-wave. (RK)
Ah�Lili Z. She of the oh so sultry voice and songwriting brilliance. Those who've been out of the French loop for a few years (like myself) might be thinking "Splash Four style punk rock played with keyboards and sequencers" when you read descriptions of Lili's single from a few years back, but that's totally not the case here. The first song sounds like the soundtrack to a bondage party held by nazi robots in the basement of one of Hitler's secret castles (likely the one where he held his occult rituals). Or take the Spits song "Fire!" and bang it over the head repeatedly with Kraftwerk albums and snuff films and you'll have a good approximation of this song. Side B is more of the same, with the only difference being that the beat is a little more 'thumpin' and Lili's vocals sound like the older sister of Gollum from the Lord of the Rings' movies. Not sure if I'm into this or not (Splash Four is much better) but at least it ain't that Intelligence single!(SS)
(S-S Records // www.s-srecords.com)

Locomotions "She's Gotta Go" 7"
It gets difficult to sort the good out from the bad at times when you release as much stuff as Martin Savage does, and sometimes you unfairly assume the quality must be suffering due to the quantity. I am, however, proud to report that this one is defintely a winner. All four (non-LP) tracks are good time garage rock and rollers in the style of the LP, with just the right amount of production. "Too Cool" belongs on any best-of El Savage mixtape you probably aren't making any time soon because you are a lame-ass. Another 500 pressed, Bongout sleeved Yakisakana blast. (RK)
(Yakisakana Records // www.yakisakanarecords.tk)

Locomotions "Teacher" 7"
See what I mean? Savage puts out record like I smoke cigarettes. I'm even more shocked that this is a good 'un too. "Teacher" sounds kinda Mod/Who, and all four tracks have a cool almost power-pop twist to them. Much different than the other stuff, and reassuring us that Martin is no one-trick garage pony. The Liam Watson knob-twiddling makes 'em sound great too. Definitley worth a pick-up, and tastefully dedicated to the Exploding Hearts. On garbage colored vinyl, which will from now on be referred to as Big Neck colored vinyl. (RK)
(Big Neck Records // www.bigneckrecords.com)

Thee Lordly Serpents "S/T" CD
Jesus, I'm not sure if this is the GAYEST garage name ever, or the coolest (I'd have to switch to irony mode fer that one). I expected to hear the Cynics, but got something (for the most part) more song/pop influenced. It does sound like something that woulda' come out in the 80s, sure, but it doesn't go right for the fuzzkill. Unfortunately, none of the songs stick in my noggin & the production sounds like godzilla pissed sand all over it. There's an audience for this album, but I can't see listening to it again myself. Nothing awful here, except the truly horrifying (and horrifyingly unnecessary) stab at "You're Gonna Miss Me". (TK)
(Pro Vel Records // www.provelrecords.com)

Lost Sounds �Future Touch� 12� EP
Seven song teaser for the self-titled full length set to blow your stereo and mind on October 11th. This record finds the group pared down to the original three of Rich, Jay, and Alicja, right back where they started. The "Rat's Brains..." formula is taken another step forward: more synth action, less guitar, faster and harder drums. The lyrics seem to be a bit less post-apocalyptic and more personal this outing. The songs still possess all of the brutality and chilling beauty of past efforts, and even up the brutality a bit with some impressive moments of total destruction, recalling the black metal half of what created Black Wave. Jay and Alicja both write great songs, with neither hogging the mantle or taking a back seat. The synth on Lost Sounds records always seems to be louder and more menacing, yet also richer than what anyone else is doing, and the rage and fear and emotion contained within the songs seems more exciting and challenging than anyone else's. This record is obviously no exception. They constantly take us to the sonic brink and push us right off, hurtling and screaming along with us into the vortex of their creations. Art that demands repeated listening. 5 songs are brand new, "Trails/Fears" is reprised from Demos II, and "Black Flowers" finds the band raiding the Ryan Wong songbook again. Built by Jay over a Rich Crook drum loop, "Black Flowers" plays as one of the more powerful moments on the album, a dirgey and personal piece of cold wave brilliance. Years ago I would've never thought a synth-rock band (of sorts) would be tops on my list, but here we are. It is 2004 after all. The future. (RK)
The last full-length lost me. Too metallic and I found myself gritting teeth, misplacing the both the disc and, gradually, the sleeve after ten or so spins. (Note: I found them both again.) This single�s back up my alley, a triumphant return to smashin� cro-mag cranium with future sounds that ain�t been invented yet. And they just keep getting better. A rolling machine live, too. I sense more frenzied keyboard-only action sneaking in here (though it�s probably just me), and it sounds like maybe the band�s starting to round the edges of the apocalyptic template with more gradual curves of the Cure and late-era Suicide (though it�s probably just the Digital Leather cover), both of which are cool developments for an already great band. What else can I say? Another necessary release from a necessary group. (EL)
At this point there's really nothing new I can say to describe the Lost Sounds, and considering TB's target audience, to do so would be pretty moot. What I can say however is that the first major release (six dollar picture discs just don't count as far as I'm concerned) in a year from this once uber-prolific outfit is well worth the wait. The title track is an absolute killer that demands many repeated spins. This EP isn't too much of a departure from their past two albums, falling somewhere between the keyboard-mangling punk rock of 'Black Wave' and the more refined, quasi-metalisms that marked the musicianship of 'Rat's Brains.' If you liked 'em before there's no reason you won't be into this as well.(SS)
Anyone expecting this (mini?) LP to siren a bold, new vista for the band will be sorely disappointed - beyond the LOUD, shiny production and tad-added complexity, this is a band fishing similar waters as on "Black Wave" and "Rat's Brains." Anyone hoping for another platter shot from the same cannon will be happy as punch. It doesn't really matter to me, either way - the well hasn't run dry yet, and there's plenty of time for them to kick about before moving on, and besides - there's the Nervous Patterns & Mouserocket & Final Solutions & Fitts so on & so forth records that came out within the last year to catch a side-glance. It's like slippin' back onto yer favorite sofa. (TK)
(In the Red Records // www.intheredrecords.com)

The Manikins s/t LP
I believe it�s been written before, here on this very site, that the Manikins do a good job of combining the Rip Off sound with the Devil Dogs sound. I can�t really argue with that and I also can�t really say that much new is happening here musically. I mean Christ, even the all-band-members-wearing-horizontally-stripped-black-and-white-shirts thing has been done before, hasn�t it? But for the majority of this debut album, these Swedes take all that�s been said and done before and whip it into a satisfying blend of incredibly catchy songs. Ya get the punchy aggressiveness of the Reds mixed with the swagger of DMZ played by highly competent musicians who are smart enough to keep the production loose and raw. Fans of that Tie Reds CD from last year or the criminally underrated Real Pills will likely find something here they like. Way better than their first single, too. Anyone want to send me their Tour LP??? (JG)
(Rockin� Bones // www.rockinbones.it)

M.O.T.O. �Single File� CD
I've owned a crappy CD-R of this for awhile, ordered from Caporino, which got me on his relentless MOTOSPAM list. Always up to something it seems. While I'm not convinced of the absolute genius of M.O.T.O. as many others are, I still they're a good band. Upbeat, cheeky, whimsically demented, it's more often a pleasure to listen to than not. Everyone can pick some favorites out this strange collection of light-hearted pop: "Dick About It" and "Evil Clown Skull" being mine. Good fun, and a welcome diversion from the glut of ham-fisted rock and weird for the sake of weird bullshit out there. A band anyone should be able like even a little bit. If you don't, I seriously think there's something wrong with you.(RK)
When I see M.O.T.O., I get happy and dance and sing along and drink like a fish and just generally act like an ass. They make it easy to do all of these things, because they are fun and they are good, like a modern-day Cheap Trick w/ far less complications and more saccharine straightahead pop. This collects all of their early singles, most of which came out in the early �90s, some of which are still live favorites to neo-M.O.T.O. aficionados like you �n� me � �Dick About It� and �Go Naked� are particular greats that�ve wormed their way into my system. And yours? Better take a look. (EL)
Great comp of singles & comp tracks (& tapes?) by this long-running (tracks here date from '88-'94, and they existed well before then) band that, for some reason, remained REALLY obscure until fairly recently. The good news is that Paul & Co. haven't really changed much over the years, meaning that if you liked "Kill M.O.T.O.", you'll like this. This is what all that pop punk crud that was big while this criminally (hi Darius!) ignored band was being overlooked SHOULDA sounded like. Fuck the entire Mutant Pop catalogue (right in the toilet cushion), this is the real shit - hooky as fuck, snotty as hell, funny, fun and retarded. Throw away those Screeching Weasel platters and hound Paul until he becomes a paranoid shut-in and Ben is forced to find another summer job in Door County. (TK)
(Criminal IQ // www.criminaliq.com)

Nervous Patterns s/t CD/LP
Legitimate release of the ultra-limited NP CD-R that Contaminated released last year, with some changes (new songs, retitled pieces, different track listing, etc.). Basically, just Jay and Alicja doing everything here on some loose home recordings. Similarities exist, but this stuff is is a little lighter and more playful, with the emphasis on near indie-rock style wave and more post-punk sounding compostions, including Jay doing an Echo & the Bunnymen cover. Picture that back in the Reatards days. Closer to Alicja's Mouserocket stuff than the raw power of the Lost Sounds, but still containing a few moments of punked-up rock. This album stands very well on it's own, and shouldn't be written off as Jay & Alicja's throwaways. And I still find it baffling that these two can write so many good songs. It defies reason. Prolific and personable stuff from two of the most significant players in today's rock landscape. Notes: cover reprises the Demos I LP motif of showing the different covers to the CD-R's (mine is bottom right); contains an instrumental segment titled "Dedicated to Joe Domino". Hey, I know that guy! Joeeee, where are you? (RK)
(Cochon Records // www.cochonrecords.com)

New Town Animals "Cori Street" 7"
I'm a fan of the New Town Animals earlier records, so it's with a tinge of disappointment that I must report that "Cori Street" is not one of their finer moments. It's not that it's outright bad or anything, but it just lacks that certain something to make it seem not at all interesting. Could be the fact that it ain't exactly catchy or fun, two things the New Towns' usually pack their songs to the brim with. Luckily the B-side "Spin So Fast" is a great tune that possesses both of these qualities in spades. Not worth picking up unless you are already a fan of this band, but at any rate the B-side is a really good song. (SS)
(Longshot Records // www.longshotmusic.com)

Jeffrey Novak One Man Band "Jungle Beat Stomp" and "To Hell in a Handbasket" CD-Rs
Another wild and crazy one man band on the scene, this time in the form of one Jeffrey Novak, hailing from the wilds of Henderson, TN. This guy's got enthusiasm coming out of his ass, whooping up 29 wild and wooly tracks over the course of these two self-released CD-Rs. Cramps-y, Memphis-y, Beatman-esque, and even Supercharger-ish at times, this guy's a lot of energy and some good stomp. The tracks on these two discs could easily be distilled into a couple of great singles, and I would imagine some European trash monger of a label will be all over it soon. Get this guy some vinyl quick, because the digitization on these blow. Heavy Gison Bros. fixation, crazed dance numbers ("jungle Beat Stomp", "Doin' the Shake"), cover songs both obvious (Novas) and strange (Beefheart). You gotta like this guy. Kinda Richman-looking, splits his thank you list into "People I Know Personally" and "People I Don't Know Personally", and he even lists his phone number on his stuff. It appears he was/is also in a band called the Mad Lovers, who may also have some material available. Goner approved as well, if that's a deal-maker for you. Either way, this kid's got heart, and a psychopathic amount of determination. (RK)
(Sonic Assault (Hit or Miss) Records // [email protected])

The Okmoniks �Compact 33� 7�
Single number three from these Arizona rascals. The Okmoniks� sound has slowed a tad since the last single and it�s more of a straight up 60s garage sound than before too, but it still does the trick. Calling them a more laid back, female fronted Sexareenos wouldn�t be too far off the mark. �You Got It (And I Need It Too)� is the big hit here backed by six other organ-drenched monophonic blasts. As the dead wax says � get your monokiks with the Okmoniks! (JG)
(In-Fi Records // 722 E. 9th St. Tucson, AZ 85719)

The Panic Buttons "Alabamalama" LP
I've had these recordings for some time, due to these kids' Wisconsin connections (most of 'em have moved, then moved away from Milwaukee at some point) and the fact that it took so long (years after the band broke up) to come out. Mummies/Rip Off worship, generic as fuh, yeah, but these were high school kids from %&$*!@# Alabama, ya know? Catchy as all get-out, so all of you who are pretending the Piranhas, Lost Sounds and A-Frames NEVER HAPPENED will giggle like school chimps. (TK)
(Ken Rock Records // www.ken-rock.com)

Piranhas �Piscis Clangor� 12� EP
I am now fully convinced that the Piranhas should be filed under performance art from here on. I really think you must need to see the incredible (I've been told) live show to get them now, as they've gone pretty far off the deep end musically. The intro either reminds me of the Butthole Surfers, or the backward-speak of the midget in the Black Lodge from "Twin Peaks". Music-wise you get 23 minutes of sound collage, mutant free jazz, art-rock, and just a general racket that sounds largely improvised, all with the pained howling of an animal reciting free verse over it. Difficult listening with occassional flashes of brilliance (though far fewer than on previous records) that still don't permit me to get through half of the record without getting pissed. Maybe that's the point: music to piss people off? Either way, I lost them after "Dictating Machine Service", and I've actually given them some listening effort. I've tried, and I'm not ashamed to say I don't get it, and don't really want to now. I just can't see any reason to listen to this more than once.You should know if this band is for you anymore. (RK)
.........
Insight trivet gangplow varia
Resuit valetudinarian export brush toe
Remonstrate preterminal villager slice oboe
Fortuity enthuse boathouse headlong lockjaw.

I just wrote that first stanza
Just now, no practice
By consulting random words that
Looked enthralling in
The 1970 paperback edition of
The Merriam-Webster Dictionary
I am T((((a))))lented

It reads like the lyric sheet
To this E.P.
Which sounds like the second album
Which I liked for a couple months
Before I realized that
HEY!
I enjoyed this band much more
When they played it straight
And weren�t hell-bent on playing
The
W! E! I! R! D!
Card
Reminds me of
ALLY SHEEDY
In the Bkfst Clb

She looked cute
When she wore that
Popular chick�s make-up!
Have you seen
MOLLY RINGWALD
These days?
Hotttttttttttttt----.

But anyways
Like the second alb
This contains no real songs
Just (mostly) nonsensical
Snippets
(Snip)
of mish-mashed bygone art-punk
That have nothing to do
With one another
And the lyric sheet
Reads like dumbshit
W! E! I! R! D!
poetry

And poetry is for assholes
And art is for poets
And when is this band going
To revert back to that cool
Black Flag w/ keyboards thing
They had goin�?

I will now eat
Cott------age Cheeeeeeeez. (EL)
I just invented the "cut and paste" technique for use in Microsoft Word. Tip o' the needle don't have the last name Soriano, course. I honestly am not sure if this band is over all our eyes, but explain precisely WHY you like for some reason I continue to listen. Mostly because they have PARTS and PIECES, they were before the break-up. to Mr. Burroughs, of Shit, it's and partially because kinda weird that this is on In the Red, as it doesn't really hit longer than a few seconds, so many cool sounding so fucking amazing pulling the wool so maybe Larry knows the any sorta groove for answer? If you can this, and please send me an email. (TK)
(In the Red Records // www.intheredrecords.com)

Radio Reelers �Rockin� Sound� CD
The digital version of the vinyl full length debut put out by Radio Blast a year or two back. Not terribly original, but not completely terrible either. Lots of utterances of �party� and �baby� and many references to drinkin� and dancin� which�ll likely tell you where these guys are coming from. Truth be told, I�m getting a bit tired of this sound as it�s been done so much by so many bands over the past decade, but I guess the market�s out there for simple, three chord, party songs. Your call. (JG)
(Zaxxon Virile Action // www.zaxxonvirileaction.com)

Real Losers �Don�t Leave Me Now� 7�
The kings (and queen) of juvie Supercharged one-two punk/trash stomp, hands down. Any doubts I had re: this band were junked when I saw �em a fortnight after the Blackout, back in Old Milwaukee � two songs into the set, C. Shake�s nekkie, THE HAND is the Hand, and Hot Dog�s playin� cavewoman behind the kit, prime primal thump-thump-thump, the simultaneously lackaday and nervous heartbeat of a 14-year-old horndog spinnin� recs in his greasy room, pounding pud to pics of unreachables in his dog-eared yearbook, ten minutes away from grabbin� some pizzacokesrock�n�roll before his big night out cardrinking w/ fellow loser �teens. Like, that good. The single�s no different than the alb and other singles, in that respect, �cept it�s packed with killer and none of the other. Minor gripe: Clean(er) production. Major perk: It�s the Real Losers! So, pfft, saddle up. (EL)
"Don't Leave Me Now" is the Real Losers at their lo-fi, and even lower-brow, best. It kicks off with a blatant swipe of the riff from 'Out of Our Tree' that would make even the Kidnappers blush. Later on they use the "and out jumped a rat" line, so maybe that makes it an "homage?" If that wasn't enough I'm pretty sure that Shake starts to come in at the wrong time on one of the verses and then ends up forgetting it. When coupled with a primal, driving beat, totally blown out production, bashing guitar, and manic vocals, all of these amateurish warts only serve to make an already killer song even better. This is a the closest the Real Losers have come to approximating the rock n roll majesty of Teengenerate, and as such, it's also my favorite Real Losers tune to date. Both songs on the B-side are also totally tits, so I think it goes without saying that you're going to end up buying this. If all that isn't enough to convince you, perhaps this will: Shake yells the word "alright" an astounding EIGHT TIMES in only three songs, with the variant "That's right" making an additional appearance as well. If that isn't rock n roll I don't know what is.(SS)
I like this band A LOT, and lemme tell you - this is their finest moment yet! Total trash, catchy & pounding and rough & all the cool shit you wanna pile on toppa that. The title track is a fuck-boppin treck through some kinda 50s/60s/70s/90s wormhole, "My Rocket Radio" is a hooky punk pounder, and "Treat Me Bad" heads off into "Total Teen Degenerate" territory. No tooth jokes this time, I promise - just buy this thing! (TK)
(Bancroft Records // www.smashintransistors.homestead.com)

The Rebel "Exciting New Venue for Soccer and Execution of Women" EP
The first solo B.R. Wallers stuff I've heard, and I like it. I had always been a fringe Country Teasers fan until the past couple of years when everything just clicked all of a sudden, sometime around when the double LP on In the Red came out. This collection from the Rebel is similar in sound/vibe to the last Teasers LP, yet even looser and weirder. Lots of twisted electronics, dimestore Casio sounds, some guitars and whatever else all thrown in the pan and pressure-cooked in the oven that is Wallers' mind. Four tracks that veer from the simply bizarre to mind wrenching melancholy, with a sound that falls somewhere in the vicinity of the Swell Maps most experimental moments, obscure British DIY lunacy, The Fall, outsider art, and just about any closet four-track recording weirdo you can think of, especially those that loathe the music industry (and most other things as well). Subtly brilliant. Perfect for those moments when you've just arrived home at 5:30 in the morning, and you're sitting there wondering just what it is that you've done. (RK)
(SDZ Records // http://sdz.free.fr/)

Red Onions CD-EP
5 song CD-EP for fans of Harold Ray Live in Concert and Seventies funk/porno soundtracks from this LA group of Latino shakers and rockers. Some of the songs are straight garage-funk, usually with a great guitar solo towards the end. Some tunes are just straight garage ("Horses With Blinders"), and "A New Direction" utilizes the herk-and-jerk sound the Reds perfected. The lyrics are socially aware/conscious for the most part, but not in a ridiculous This Moment in Black History way. The drawbacks: (1) it's a fucking CD-EP (why would this not be on vinyl?) and (2) the Johnny Reis production make it all sound like crystal clear crap. I'll give the guy credit for Testors and Crime reissues, but he fucked this up. Get the Onions 7" on Revenge Records and you'll hear what they should sound like. (RK)
(Flapping Jet & Fat Possum split release // www.flappingjet.com // www.fatpossum.com)

The Resinators Demos 2004 CD-R
Cesspool dwelling rock and roll, that sounds truly dirty�with a guitar solo over top that never stops throughout the 6 dirty tracks�even throughout the (Zeros) cover of "Wimp"! Maybe they could tone down the �hot licks� riffing once in awhile--at least during the vocal parts�it has its place, but it�s just constant on this demo. That�s the only drawback here�.otherwise, fun, dirgey basement rock. Good distorted vocals overtop some sleazebag rockers here�(LB)
(Self-released)

Scripts "4 Songs" 7"
Debut release from one of those bands you always see mentioned on the Goner board, but never actually hear if you're from anywhere but New Orleans. I'm glad this record got out though, 'cause it's pretty dirty. Some heavy-style rocking, almost reminiscent of the Mistreaters, with scuzzed out raw-dog production values, and a healthy dose of menace. The whole thing sounds kinda unhinged GG-style, played somewhat fast and hard, with damaged vocals, a hook or two, some girl backing vocals, and I think I detect a slight essence of ye olde thrash-metal. Perfect for those who get a rash from listening to art-punk. "Nobody Cares" and "Japanese Tourist" are my picks of the four-song litter, and you can't beat a refrain like "I'm a suspect in the murder of / a Japanese tourist"! Autobiographical? I sure hope so. The dirt: limited edition of 300 in hand painted/screened thick covers, members of Mangina and Kajun SS. Available from your pals at Goner Records. Now where can I get a Hibachi Stranglers record?(RK)
(Jeth-Row Records // [email protected])

Spamchords "Bingo Royal" 7"
The latest from Nils Westphal Ltd., one man wrecking crew. Not so much a four song EP as it is a one man trash-rock suite of sorts, with all the songs joined and running together. On this one he achieves what may be the ultimate fusion of both the Superhelicopter and Damnation Kids sounds. For those other than the twelve people who can imagine what that sounds like, here's the play-by-play: first portion is built on some start/stall garbage guitar that gives way to a wash of feedback and them morphs into what a really lo-fi Slayer might sound like, then another feedback rinse and it's back to some heavier stutter-step garage bashing interspersed with moments of mammoth static riffage, and all of this sprinkled with vocals that sound as if they were run through a meatgrinder. A bit on the experimantal side for this guy actually, but it's good. Try Damnation Kids if you want a more straightforward attack, but this is interesting, to say the least. Of course, in a typically beautiful (and brown) Bongout sleeve, in an edition of 500. (RK)
(Yakisakana Records // www.yakisakana.tk)

The Treliks �Mexican Road Movie� 7�
This one�s kinda out of my range of expertise, but here goes anyway�The promo shit that came with this calls the A-side an �amazing psychobilly pop monster� which minus the word �amazing� and stressing the word �pop� is probably true. Not bad, just not really my thing. The flip �Ride Inside Her Lies� is much better. It�s faster, there�s some hijinx on the guitar track and the organ fits nicely into the song. And in case you were wondering, they apparently �wear matching shirts specially designed for them by a top Italian designer�. Dorks! (JG)
Goofy garage-noir schtick, that really doesn't sound all that bad. Sharp suits, organ, guitars ripe with reverb, looking for a deal with Virgin. You get the idea. The English neo-garage equivalent of Wall of Voodoo. Look for them on the soundtrack to the next "Lock, Stock, and Two Smoking Barrels" rip-off. (RK)
I jes dunno. A UK band that kinda swallowed the sixties whole, junk culture and all. I can't quite describe it exactly, but it's got this z-movie soundtrack organ jizz thing going on. The band's pretty good, s'OK. White Belters would probably eat it up but good. (TK)
(Face Value Records // www.facevaluerecords.com)

Vee Dee "Blood Zombie" 7"
More classic-era Misfits on a Vee-yet-Nam psych-out acid trip with a touch of rockhard umph and stun-gun bass from these Chicago-ites. Their LP keeps getting better if you ask me, and "Blood Zombie" is one of the better cuts from it. The flip keeps up the same downer-vibe momentum, with another song about a girl. I'm honestly quite surprised that this band is good for some reason. The sleeve lists a third track that does not actually appear on the record, keeping up the Goodbye Boozy tradition of jukebox-friendly singles.(RK)
Boy, did I not like Vee Dee when I saw them. It's been a while, and either they've improved mightily, or this showcases them at their best. Likely a bit of both. "Blood Zombie" is the clear winner here, nasty sounding and catchy rockpunk, and "Her Eyes" is a nice (but somewhat less catchy) rocker in a similar vein. More Chicago goodness...it's hard to keep up with all that's goin' on down there, and I know there's a lot more to come, so strap yerself. What's the deal with "Somebody Loves You"? (TK)
(Goodbye Boozy // [email protected])

The Von Zippers "The Crime is Now" LP
Why does shit like this already feel so much like nostalgia? I always thought of this band as a 2nd rate Canadian Headcoats (hey now - I don't mean that in an entirely negative way!), but this record has more hard rock stuffs (was that a Thin Lizzy riff?) than I'd noticed before. "Blue Suit Bullies" quotes Naked Raygun's "Surf Combat" several times, for some reason. Not bad, some pretty cool tunes here and there, just comes off so much like a cartoon that it's hard to take it too seriously. (TK)
(Alien Snatch! // www.aliensnatch.de)