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· 1:Punk Parenthood for the Sleep Deprived
· 2:#330 with Craven Rock
· 3:One Punks Guide to Poetry
· 4:#331 with Mike Faloon and Todd Taylor
· 5:#332 with Kurt Morris


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Below are some recently posted reviews.

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GATSBYS AMERICAN DREAM:
Ribbons & Sugar: LP
The internet told me this was originally released by a Seattle band in 2003 and has been reissued on vinyl this year. The internet also told me this was Gatsbys American Dreams second album and is a concept record loosely based on George Orwells important book Animal Farm. In turn, my brain warned me that ninety-five percent of concept albums are pretentious piles of shit and my ears confirmed this important axiom upon dropping the needle: a sprawling crap field of progressive punk emo with shifting time signatures and ill-advised songwriting twists and turns that never allowed any quality hooks to emerge. Avoid this at all costs unless complexity in rock and roll is your bag. –Jake Shut (Overdue Collection Agency)


FUTURE NOW, THE:
Hangman b/w The Runaway: 7
I find the first song, Hangman, loses me quite quickly and drags on too long. It sounds like an outtake from Superunknown, which I still have on cassette. Busted it out to verify. Yep, sounds like the runt of the litter Cornell refused to sing on. The second song sounds like Stone Temple Pilots, and, yes, that really is all there is to say about it. I guess I just dont understand the point of releasing something so identical to what I grew up listening to and, in its majority, completely ignoring. Pearl Jam released an album last year, and it didnt sound like Ten. Real bands have their own sound, or at the very least their own approach. Theres no way this band can claim to have such a thing. –Rene Navarro (Kiss Of Death / Sound Study)


FULL SUN:
High Ceiling: Cassette
Kind of lo-fi indie garage, though that could be the cassette. If I had to put them on a show here, Id probably pair them with Black Winerough around the edges rock thats both versatile, and that not a lot of other people play that often these days. –Joe Evans III (Houseplant)


FULL OF HELL:
Roots of Earth Are Consuming My Home: 12 EP
A mix of modern hardcore, crust, grind, and noise. The music is heavy and pummeling, with dual vocals, a massive wall of guitar, and a hulking low end. I like the addition of noise, such as on the opener to Pile of Dead Horses. The abrasive electronics at the beginning remind me of Cabaret Voltaires Nag Nag Nag. The addition of noise brings another dimension to their sound that will separate the passive from the dedicated. White Mare is a workout in sound, with electronics bleeding, twittering, and screeching in and out, blanketing a dry vocal shout. The downside of this record is that some of the songs tend to not distinguish themselves too much for the other, as most of side two, and it blends into one tedious song. –Matt Average (A389, a389records.com)


FUCKED UP:
Bonus Singles: 7
Everyone who pre-ordered the latest Fucked Up LP David Comes to Life got a treat in the form of four limited 7s. Three of the records have a song on each side, and the last one has one song for a total of seven songs worth of bonus material. While I dont want to call any of these tracks rejects, there is an unevenness to some of them, which makes it understandable why they did not end up on the album itself. That said, the track Octavio Made the Bomb, was my favorite of the tracks on these singles, for its catchy riffs, but especially for its very meta lyrics describing how the album David Comes to Life came about. Overall, I feel these releases are more for diehard fans of the band, but are worth picking up if you come across them. –Paul J. Comeau (Matador)


FREEZE, THE:
Blood Flows Home: CDEP
Three-song release from these long-running Boston punk pioneers. When the Scum Dries is a mid-tempo rocker that has a cool swagger to it. The title track is tight and chugs along from end to end. The third song is a Dead Boys cover, which they do in a straightforward fashion. Its loud and heavy here with super amazing results. I didnt mention the hidden track since it is more of a spoken word deal. These guys will be touring next year. Hope a full length is coming. –Sean Koepenick (Rabid Reaction, no address listed)


FLESH LIGHTS:
Muscle Pop: LP
Flesh Lights is a convincing three-piece power-pop group. Fans of Cheap Time and the Exploding Hearts will likely give Muscle Pop the nod of approval. –Ryan Leach (Twistworthy, twistworthy.com)


FIALKY, THE:
Kapitn 77: CD
Fairly pedestrian, yet catchy, street punk. Lyrics are almost entirely in Czech, and there are brief flashes of some more interesting musical ideas bubbling just under the surface, but in the end, its all more of the same ol same ol. –Jimmy Alvarado (Papagajuv Hlasetel)


FELLOW PROJECT:
The Buried Life: CD
Starts off kind of folk-punk but gets more rockin as things move along. Its almost like emo went out and met up with folk-punk and the two have a stellar evening at a low-brow microbrewery swapping stories loaded with ironic humor. Me like more with every listen. –The Lord Kveldulfr (Dead Broke)


FED UP!:
Live at WFMU: 7
New York hardcore band playing live on the radio. Pretty much unlistenable and boring. –Ty Stranglehold (Welfare)


FAST BOYS:
Self-titled: 7"
Sorta garage-y rockin pop punk that sounds a lot like the Gotohells or Heartdrops. Not my fave style, but this band does it as well as any other. –Mike Frame (Young Monster, yngmnstrrecords.blogspot.com)


FACTORY MINDS:
Americas Not at War: CD
Debut release from this Bay Area four-piece. They list The Clash and The Buzzcocks as influences, along with some ska acts. There wasnt too much ska baloney to make me pull my hair out, but there is a definite Joe Strummer floating around. Thats not a problem as long as it doesnt go from homage to imitation. California Sun and Waiting in the Cold were repeat players for me on this one. Its not all Clash type songs. Rhythm to My Blues throws a blues feel into the mix and Nothing to Give is a nice acoustic ditty. This band is solid and Im sure their next record will transcend some of their influences on the next go round. However, I do have one bone to pick with Factory Minds. The insert says All songs by Factory Minds. Does that include the end of the last song, too, boys? Cause Paul Simonon and the rest of Havana 3AM may have a few words for you. –Sean Koepenick (Arrest)


ENABLER / AMBASSADOR GUN:
Split: CDEP
Enabler play tight, angry, black metal-influenced hardcore with some pretty awesome blast beats and growling, shrieking vocals. The lyrics attack stuff like apathy and religion. Most of all, they have a vendetta against nihilism and sing about staying true to what you believe in, whether or not you have a chance of being heard or things getting better: Youre so naive to believe that you have a voice/youre so foolish to think you can make a difference/does that mean you should give up?/you cant give in/ a lesson in self-control/ to the lack of will that this world has. Go, Enabler! Ambassador Gun, on the other hand, makes Enablers band name literal. By that, I mean that Enabler is providing the means and opportunity for a much shittier band by sharing a tape with them. Okay, thats kind of harsh, but Ambassador Gun play by-the-numbers crust, metal, whatever... –Craven (Sacred Plague, sacredplague.com)


EDIBLE INTENTION:
Self-titled: CD
This is a posthumous release from a Lansing, MI band that was active from roughly 2007-2010. Once they got outta the practice space, they were basically the house band for the Lansing art-space/all-ages show collective Basement 414. If you lived in Lansing at the time and were remotely plugged into the local punk scene, you probably saw these guys a thousand times. Im not sure they ever got outta town. They played a pretty intense mix of free-jazz-informed Stooges wail and Minutemen anything-goes stomp. This album was recorded near the tail end of when they were active and sat on the shelf for awhile until the all-around good folks at Good Time Gang Records decided to release it. I was pretty curious to hear this. As much fun as an Edible Intention show was, they could turn into a hot mess of noise pretty quickly. (Not an insult, by the way.) I wasnt sure their sound could be translated to disc. Producer Tommy McCord did a great job of making them palatable without sacrificing the noise quotient. The vocals are definitely an acquired taste (and theyre mixed suitably low) but I dig em anyhow. Even if you cant take the caterwaulin, the guitars are pretty raunchy in a Melvins/Nuggets kinda way and the songs are short and varied enough to hold your attention. The cover artwork totally reminds me of an early 90s SST release. (You know, it looks sort of awesomely terrible.) I dont think this CD would necessarily have the same impact on anybody who wasnt around to catch em in their prime, but its still well worth checking out if youre into more adventurous (but still way rockin) sounds. –Ryan Horky (Good Time Gang, gtgrecords.net)


DONT LOOK DOWN / THE DESTRUCTORS:
Je Suis Radio (split): CD
The Destructors are one of those 70s bands that simply will not stop playing and putting out releases ranging from decent to classic. Their four songs included here are a healthy mix of their initial 77 sound with a pinch of hardcore thrown in. Dont Look Down is another high quality British band, although one of their contributions to this split almost kills the whole project. They decided to record a semi-cover, semi-tribute to the classically shitty 1980s radio hit People Are People, which manages to be even shittier than the already atrocious Depeche Mode song. I suppose out-shitting notoriously bad Euro-pop is some sort of a cultural achievement in its own right. –Art Ettinger (Rowdy Farrago, destructors666.com)


DISCO BALLS:
Rise and Shine: CD
It appears the Czechs have their very own No Doubt clone band. –Jimmy Alvarado (Disco Balls, discoballs.cz)


DESTRUCTORS, THE:
11.11.11-In Memoriam: CD
These long-running U.K. punkers sure are prolific. I think they almost have as many records as the UK Subs. This is a record celebrating National Metal Day on VH1. Uh, actually it is for Remembrance Day. Superbly recorded and well played, there are two covers on here. Im assuming the rest are originals. We Need You sounds like a lost Sex Pistols tune. The Misery in Me is a rollicking barnburner. Body Bags also rounds out this batch nicely. Hopefully, they will tour the U.S. at some point. –Sean Koepenick (Rowdy Farrago)


DERKS, THE:
Slack Jawed Hussies: 7"
Four mid-tempo punk rock songs with a somewhat standard sound to them, although I really, really, really like the last song, Truck, which had a bit of a country feel to it musically and lyrically. The other three songs are good, but not holy-shit-youve-got-to-hear-this-record-good. Overall, the record rocks, but it a very familiar waykind of like the Zero Boys played at a slightly slower tempo. –The Lord Kveldulfr (No label listed)


DEMONI:
Dawn of Demoni: CD
I wonder why so many rockabilly or psychobilly bands end up going the horror route? Dont get me wrong, I like the genre for the most part, and I love horror... It just seems like it is truly done to death. Demoni do it just fine, but it has trouble holding my interest. –Ty Stranglehold (P.I.G.)


DEHUMANIZERS WITH PAMELA DES BARRES:
Self-titled: 7"
Longstanding weirdo experimental punks the Dehumanizers teamed up with infamous groupie/GTO member Pamela Des Barres for this intentionally irritating, pretentious jumble of a single. Des Barres does rhythmic spoken word over the odd musical rumblings of the Dehumanizers. Both songs are truly bizarre and interesting, but only in that theyre such gleeful train wrecks. Id much rather read one of Des Barres books or check out earlier Dehumanizers records than suffer through this tripe again, but you cant fault them for trying. What a mess! –Art Ettinger (P.I.G., myspace.com/portnowintertainmentgroup)


DBCR:
Let Them Eat Bikes: 7"
The A side is a vaguely melodic punk number with rock beats and a No Idea Records-sounding vibe. The B side is a little bit more up my alley; a slower, sort of creepy Dead Kennedys style track with vocals that remind me a lot of Gary Floyd of the Dicks, though nowhere near as confrontational. The band is catchy enough that I could see it getting big with the same crowd thats really into stuff like Off With Their Heads, but isnt necessarily my cup of tea. That being said, the record does sit a lot better with me after a few listens. –Ian Wise (Self-released)


DAN P. AND THE BRICKS:
Watch Where You Walk: CD
Im pretty sure Dan Potthast is a big name in ska, but I dont really know anything about ska, other than I wondered if those kids who dressed up like rude boys (and girls) in high school did that all the time. I want to call this kind of folky, but again, I dont really know much about ska. It mostly just feels lighter than say, The Toasters. Maybe Id call it post-ska (instead of post-hardcore). Though, I can say that its good spring/summertime barbecue music. –Joe Evans III (Asian Man)


CULTURE KIDS:
Self-titled: Cassette
Tapping into a bevy of classic American influences, San Franciscos Culture Kids kick, scream, and speed their way through fifteen tracks of raw, snotty hardcore punk. Its a battle royale between early FYP vs. Fish Sticks with This Is Boston, Not L.A. as the background score is the only kind of picture I can paint for you. Its funny, though. The only other band that is doing it right (like this) is School Jerks. The rest of you, learn! –Juan Espinosa (Burger)


CRUSADES:
The Sun Is Down and the Night Is Riding In: CD/LP
Man, I wish I didnt have such a shitty memory, otherwise I could tell you a bunch of bands that Crusades sound like. But theyre all good bandsbands you like and are catchy with some emotionally tinged vocals that drive you inside your head and thoughts. However, Crusades still retain a driving, yet melodic pop punk sound with three vocalists who all bring their own depth to the music, making it unique despite the generic nature that many might attach to the pop punk genre. A couple suggestions to them, though: 1) the snare seems to be the dominant sound from the drums. Its not real diverse and should probably have been mixed down a bit. 2) Make your album longer! Ten songs in twenty-five minutes arent enough! (The LP has ten songs; the CD has four additional tunes.) Most of the songs seemed to be over just when I started to get into them. I want more Crusades! (The band, not literal religious crusades.) –Kurt Morris (Its Alive)


CRISIS HOTLINES:
Dont Wanna Go to No Jail: 7 EP
Tuneful punk rock with no real theme, schtick, or genre; the record cover is red, blue, and purple but the vinyl and label are yellow, so I dont really even know what colors they like best. A number of the songs are at least semi-catchy ((the title track chief amongst them; Explorers to a lesser extent)), but the impact of said semi-catchiness is occasionally blunted by odd phrasing and stresses on weird syllables, and occasional explosive epic drum fills that dont so much add to the listenerly experience as have me holding my breath hoping the guy comes out of them okay. I think the spring-wound energy of the drums reminds me of Heart Attack or the Busy Signals or Really Red or someone, but Ill have to get back to you on that. The baritone sax that comes in towards the end of Astral Projection is as unexpected as it is awesome. I think i will call this particular crisis hotline and request more sax next time around. BEST SONG: Astral Projection BEST SONG TITLE: Astral Projection FANTASTIC AMAZING TRIVIA FACT: The guitar player is 94. –Rev. Norb (Eradicator)


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