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Self-titled: 2 x LP
The Guns were an early hardcore band not only noteworthy for offering up two smoking tracks on The New Hope compilation, Clevelands answer to Flex Your Head and This Is Boston, Not L.A., but also because at the time of those recordings it was a two-member band and neither of them were yet old enough for high school. With the addition of bassist Sean Saley, the band recorded a full-length showcasing a band that was tight and able to work well at making a creative niche for themselves within hardcores often rigid template. It was originally offered to Enigma, but ultimately ended up being shelved, though it did end up being unceremoniously bootlegged as part of another bands release to fill space. Lineup changes that included a guitarist capable of playing leads, slight stylistic changes in direction, breakups, and the later deaths of both original members within the span of a decade seemed sure to leave the band in the couldve been pages of punk history with little more than an unreleased album, a smattering of comp tracks, and a later full-length reunion album. Released by Tom Dark (brother of original member Scott Eakin) and the folks at Smog Veil, this seeks to rectify the dearth of material available from the band by unleashing a double-LP set that includes forty-three tracks comprised of the unreleased album, comp tracks, outtakes, demo tracks, rehearsal recordings, a radio session, and assorted live recordings covering the bands career, plus some great liner notes from Saley and Dark to give some historical perspective. The sound varies from studio to boombox quality, the latter of which might be a bit raw for those accustomed to modern sonic fidelity standards, but none so bad that they are unlistenable. A definite must for both historians and fans of the genre, this is a fine showcase and a fitting attempt to give propers to a band quite deserving. –Jimmy Alvarado (Smog Veil)

Dale & The Careeners: CD
Is it a surprise that I dont think about the Grabass Charlestons all that much anymore? Seven years since the release of their last LP finally brings us the third Grabass Charlestons full length and, boy, is it different. The growl and harshness of the previous records has been turned down and the Replacements influence turned way, way up. All of this might have been abled by the addition of a fourth Charleston, who seems to have taken over drumming duties from Will. If you are a fan of previous Grabass albums, I would suggest you check this out, but be warned about the potential shock value of whats to come. If youve never dug the Charlestons before, Id recommend giving this one a listen. As songwriters, I dont think the band has ever come close to some of the songs on this record. –Bryan Static (No Idea, noidearecords.com)

Dale & the Careeners: LP
Where to start? Ive been a fan of Grabass since the Billy Reese Peters split LP in 2002. I celebrate their entire catalog; Ive reviewed their entire oeuvre. They were on the cover of Razorcake #17. I have the story of Replay being arrested in Texas on the fourth of July memorized and I tell it to kids during library readings. Razorcake Records put out a Sister Series 7 of theirs. I took the photo of the painting for their side of the TTK split LP. Bias? You fucking bet. Theyre my friends and that friendship was first started because their music struck a deep chord in me. My bias is this: I think theyre woefully underrated. (Your guess is as good as mine as to why. Maybe its the name. Maybe its because we live in a classist, image-conscience, artifice-saturated, lead-by-the-nose culture (even in punk. Especially in punk.)) So instead of complaining, Im a facilitator when the opportunities arise. I was not expecting Dale & the Careeners, didnt see it coming, and that makes me happy. Because, at this stage in the gameliving adult lives as human beings who happen to not be able to divorce themselves from punk rock and dealing with musicI want contemporaries who arent regurgitating their own expelled fluids. I want people who are musically much smarter than me showing that uniforms can dissolve, that others expectations are gravestones waiting for inscription, that suburban cul-de-sacs of the mind can become bike lanes, that aging and collapse arent one in the same. Dale & the Careeners does all of that as a record. Lyrically, its complex. It takes multiple voices (first, second, and third person) and acts as a prism that looks at addiction, safety, impulse (and a baseball game). Its poetic and direct. To put this in a bit of context, think of folks like Todd Congelliere, Isaac Reyes, Isaac Thotz, and Mark Ryanall people who were/are in dynamite bands that have broken music wide open in the past couple of years in an almost absolute vacuum beyond their immediate families, friends, and close peers. On a cultural level, its so fucking bittersweet to be a front row listener to their world-class bands. I feel like simultaneously laughing and crying; getting fucked up and remaining cold sober; shaking my head and shaking my fist. If meaning still has meaning for you, I highly recommend Dale & the Careeners. Soak in it like the sea. Let it crash around you. Let it hypnotize you like waves. –Todd Taylor (No Idea)

Whats Left to Let Go: CD
I dont understand the current proliferation of bands with a melodic post-hardcore-y sound and screamed vocals calling themselves hardcore bands. The U.K.s Goodtime Boys are one of the better-sounding of this crop of bands. Whats Left to Let Go is a double EP worth of the bands material on one CD. Their music is at times aggressive, and at others mellow and subdued, retaining a melodic element even at its most spastic. I wanted more of the spastic aggressive parts, as they felt like they were too few and far between the subdued riffing and drumming over which vocalist Alexander Pennie screams and speaks his introspective lyrics. The lyrics are generally well written, but Pennies vocal delivery, combined with the frequently subdued vibe on this didnt do much for me. The big exception to this was Wake/Daylight whose extended intro builds to a frantic crescendo before ripping into the song proper. From there things do mellow a bit, but they pick up once more and build to the end, like a wave crashing in upon shore. I think if there had been more tracks like this, and the follow-up, Harrow, I might have enjoyed this better. Its an album done in a style that doesnt really excite me, but its done well enough for me to appreciate it. I cant call it a goodtime, but I can call it an okaytime. –Paul J. Comeau (Bridge Nine)

Rodney: 7
Bland female-fronted power pop with trite lyrics about boys. Dull. –Craven (Self-released)

Live in Kelowna: 7
This record shouldnt even be possible. The factors involved fly in the face of logic. A small Canadian town in the early days of punk rocks transformation to hardcore, a concert held in a public park booked by a fourteen-year-old punk rocker, the same fourteen-year-olds resolve to hold the city to the contract when they tried to cancel it upon discovering that it was a punk rock concert and then the fact that someone bothered to think We should record this amongst the hail of threats and beer bottles from the audience. Well, all those things happened and the result (albeit thirty years later) is this record. Four of the five songs here were recorded at the above mentioned show in 1981, complete with verbal abuse from the crowd between tracks. The last song is a live track from a hall show in 1982. The sleeve warns that the sound quality is more horror than music, but I was left in awe of the dark alchemy Dave Eck worked. It sounds every bit as vital as a punk record in 1981 should sound. I heard there is a GOH complete recordings type of release coming soon. I cant wait. –Ty Stranglehold (Punk Records, punkrecords.com)

Sair de Mim: 7 EP
These Brazilian noisemongers fall somewhere in that spacious void between hardcore and garage punk, with loud, clanging guitars and tons of reverb. Theres maybe a smidge of artiness in there, giving things a different spin as well. Good stuff. –Jimmy Alvarado (Spicoli Discos, myspace.com/spicolidiscos)

Punk Rock: LP
I didnt know this record was such a commodity! I knew it had to be good because both The Raunch Hands and The Exploding Hearts covered F.U.2 (Mean Evil Child and Sniffin Glue, respectively.) Originally released in 1977 then bootlegged to hell, finally seeing a legit rerelease thanks to 1-2-3-4 Go! Updated liner notes dispel rumors that F.U.2 was a joke band done up on a drunken whim. F.U.2 was made up of members of The Downliners Sect, who had some extra songs that didnt quite match their typical R&B/beat style. Not quite pub rock and not quite raw punk. Maybe a combo of both, filtered through competent musicians? Worth your time. –Sal Lucci (1-2-3-4 Go!)

Paranoia and Regret: LP
Fuck yes! The opening licks hinted towards a bit of Born Against influence, which Im all for, but suddenly the speed dial gets turned up to the likes of which BA never cared to reach. Mixed into the equation are some great gruff vocals (ala Jack Control) and an awesome concoction of Scandi-core and Northwest depression influence (think Wipers Over the Edge and youre getting warmer). In their thanks list, they mention people who have helped them on tour, which elates me to no end; the possibility, no matter how remote, of being able to see a great, newly discovered band is what makes punk rock worthwhile to me. This record is fucking awesome, through and through. –Juan Espinosa (Inimical, inimical.com)

Outgoing Rockers: 7
At first look, this 7 looks like it could be by a 60s garage punk band. Nice screened cover, custom inner sleeve printed with the labels logo I sure as hell wasnt expecting the scrappy punk that hit my ears. I think it might have just been the recording style, but I kept thinking about The Shitty Limits. That is a good thing. Im definitely going to be on the lookout for more. –Ty Stranglehold (Reel Time)

Im Not Alone: LP
This just sounds like the southeast. Catchy and chaotic and screaming to get out but happy and narcoticized by lush green surroundings and barefoot summers and not being sure if you love how your neighbor always says Hi or if you wish theyd butt out for once. Set this in a college town: Indie pop punk bands Superchunk and Archers Of Loaf are playing a club on the main strip, in between the fratboy pizza place and the antique shop where professors buy lamps. Assfactor 4 and some other chaotic emo bands are making the walls sweat at a basement show a couple blocks into the neighborhood. Flashlights are standing under a streetlight halfway in-between, pulling quickly warming beers from a soggy cardboard box, realizing they dont have to choosethey can stand right there and enjoy both shows. –CT Terry (Protagonist Music)

Split: 7
Life-affirming, happy-as-fuck, 1990s-style pop punk in the vein of Squirtgun explodes from these three lovable bands from Florida, New York, and Illinois. I havent heard a better new pop punk record in some time. Im literally dancing at the computer like a fucking idiot as I review this gem. Fans of quality underground, catchy pop punk like The Connie Dungs will go apeshit over these three brilliant bands. Six songs are crammed onto this gift of a 7. The best track is Productive by Fizzy Pops, which has a White Trash Superman or Grumpies vibe. The co-opting of pop punk into the mainstream will never kill it in the underground as long as there are rad bands like these out there. The locals who get to see these groups regularly are living large, whether they know it or not. Have fun! Im jealous. –Art Ettinger (Swamp Cabbage, swampcabbagerecords.com)

MPD: 7
Title track is a nice bit o garage punk stompin, raw enough to pass the stringent tests laid out by purists but not so much so that it sounds like a wall of shit. Flip is a Chosen Few cover, the original of which Ive not heard before so Im not in an authoritative position to determine whether or not they fuck it up. Produced by Ty Segall. –Jimmy Alvarado (Goner)

Self-titled: 7
Epic Problem is a very interesting new project from Mackie of the early U.K. oi band Blitz. As influenced by later bands like Jawbreaker and Leatherface as they are by early oi, Epic Problem wonderfully mixes the old and the new on this engaging three-song 7. Im not sure Ive heard anything like it before, as it mixes two styles that dont normally coexist in regimented punk-ville. Odder still is that the combination works and that it works well. The legendary Mackie brings immediate integrity to any band, but this is a truly outstanding record regardless of its members history. Plus theres a song on it called (Not So) Smart Bombs, which is awesome on so, so many levels. –Art Ettinger (Longshot)

Party Child: LP
I must admit, I grabbed this because I saw it was on Satans Pimp, which was/is a label from the 1990s that was known for interesting packaging and music that pushed against the borders. I like not knowing what Im going to exactly get from a record all the time. And, as a label, thats what Satans Pimp does. You know its not going to be the norm, but how far out is always the question. Musically, Elephant Rifle sound like something that could have been on Touch & Go, early Sub Pop, or Am Rep. Their style is, I guess, what one would call post-rock, or maybe post-hardcore. No easy categorization. Songs are sometimes wound up tight, then, other times, they are a sprawling and thundering landscape of percussion with guitars and bass churning in the back. I find myself going back to the second side of this record most. The songs just flow together more and the overall feel is more cohesive, not to mention, much darker sounding. The transition from Saddest Comedian to the slower, broodier, ominous Nurse Feratu makes sense, as they both have the same feel, despite one being more hyper and the other more down. –Matt Average (Satans Pimp / Humaniterrorist, humaniterrorist.tumblr.com)

Party Child: LP
Far and away the high point of this whole loud and painful affair, the gross and stylish cover art is reminiscent of a cross between Gary Panters work for Raw magazine in the 80s and something that wouldve gotten Mike Diana tossed in the pokey back around then. The band, however, should change its name to The Uck, owing to its great uckiness. If i remembered what Steel Pole Bathtub sounded like, Id see if these guys sounded at all like them. Uck. BEST SONG: Saddest Comedian BEST SONG TITLE: Either Rib-Eye for the Dead Guy or Nurse Feratu FANTASTIC AMAZING TRIVIA FACT: If I am reading things correctly, Youre Welcome is the only entity on the Thank You list. –Rev. Norb (Satans Pimp/Humaniterrorist)

We Wear White: CD
Catchy, infectious, and often funky rock stuff from a former member of Dischord staples El Guapo and Antelope. I must profess at never having heard anything from Edie/E.D. prior to this, but the ride is fun and damn if I didnt find myself with Weatherman earworming my noggin. –Jimmy Alvarado (Dischord)

Cold Comfort: 7
Long sleeves, gym shorts, singalongs, straight edge, being fucking posi, loving Youth Of Today, gang vocals, mosh lanes, crew cuts, New Balance. Do these things describe the whole of Polish youth? I hope so, because these guys make me feel like they should. This record reminds me of my youth and hardcore from the late 90s/early 00s in a way that doesnt make me want to throw up all over myself. The songs are tight, the production is sparse, the lyrics talk about forgetting shitty friends, hanging out with good friends, and being cooler than everybody. These guys probably have more fun than you. This kind of music is like the garage rock of my generation; its just four kids playing a few chords in the basement because its fun and just playing music to their friends. I smiled all the way through this thing and immediately called my friends to tell them about this band. Highest recommendations for fans of the style or just people who remember when this kind of music wasnt nearly as fun as these kids are having. –Ian Wise (Refuse)

Drown w/ Moon Rocks + Speed: Cassette
Some crazy dissonant, distorted punk rock here from Madison, kind of like if Sonic Youth were a garage band, but way cooler than that might sound. Its just some awesome, heavy, off-kilter, fuzzy rocknroll that wont be content in classifications like post-hardcore or gunk rock. Climbing walls of distorted buzzsaw guitars, the lead singer gives it all: his sweaty, midsummer desperation vocals are tense and high, almost always bursting into a strangled shout. If you get one freaked-out, oddball punk cassette this year, this is the one. –Craven (Kitschy Manitou, thedharmadogs@gmail.com)

Demokrati Eller Diktatur?: 7
I liken d-beat to the relationship with your favorite beer: its still fucking refreshing no matter how many times youve partaken. Desperat are all lifers when it comes to the genre (Mob 47 members!) and from the mayhem exhibited here, they show no signs of tiring, with a sound that so many punks hold dear. Typically, Id be a little less than enthused with such high production values but Id be a lying asshole if I said it doesnt work perfectly here. The cymbal sound is like theyre playing right in front of you; and for that alone, they definitely got their moneys worth. Personal taste disclosure: nobody (besides the mighty Discharge, of course) does it better than the Swedes. So if youre into Krigshot, Totalitr, and Kvoteringen, then you absolutely need this. –Juan Espinosa (Beach Impediment, beachimpediment@hotmail.com, desperathc@hotmail.com)

Roads to Judah: CD
The darlings of the blogosphere in the two years since their formation, Deafheaven have a sound which fuses several different genres and influences, including elements of black metal, shoegaze, and post-punk/post-rock into something uniquely their own. The duo of vocalist George Clarke and guitarist Kerry McCoy make up the core of Deafheaven with McCoy acting as the primary songwriter and Clarke the primary lyricist. A revolving cast of supporting musicians has filled out the band to a quintet since the release of their demo. Roads to Judah marks the bands first full-length release on label Deathwish after a 7 single on the label. With four tracks clocking in at just under forty minutes, Roads to Judah is an atmospheric, ephemeral, experience. The opening track Violet, begins with a bit of an ambient soundscape, with clips in the background before guitars come in, followed by the rest of the band. The intensity builds note by note, layer upon layer, and riff upon riff, before crashing over the listener in waves of sound. Theres a movie soundtrack feeling evoked by the progression. Breaks between each track are brief, as though allowing the listener time to catch their breath before submerging them once more in an ocean of sonic waves. After the roaring climax of the second track, Language Games, theres a particularly noticeable break before the third track Unrequited. This track opens with a slow melodic intro, before steadily ratcheting the intensity back up. Unrequited and the closing track, Tunnel of Trees, were my favorite tracks on this record. Tunnel of Trees features some of the most interesting riffs and the most dynamic overall sound of the entire album. Its the track I will likely point new listeners to when I tell them to check out Deafheaven in the future. While I was a bit late coming to Deafheaven, partly out of a desire to avoid hype bands, I wish I had checked these guys out earlier. Every ounce of attention given to this band is justified, and Roads to Judah has made me a believer. –Paul J. Comeau (Deathwish Inc.)

Bangers: CDEP
Right up front, Im not much of a fan of the average two-member band thing, specifically with the whole guitar-drums/bass-drums thing. The reason is simple: most of em arent proficient enough to compensate for the sonic hole left by the missing instrument. This aint a big deal when were talking about something like rockabilly or some other roots-based music, but when its more rambunctious-oriented stuff, I can count on the fingers of one hand the instances where a band bucks the odds. Usually, though, the results end up sounding a bit flat. Totally a personal preference thing, and Im well aware that there are those who would disagree, but unfortunately, this is the case here. The songs are potent bits of primal rock/punk but the low end punch provided by a bass (or even a baritone guitar wielded by someone with the dexterous flair to fill that void) is sorely missed here. –Jimmy Alvarado (Dead Skull, facebook.com/blackeyeltd)

Evil Eye on You: CD
Since i seem to be chronically unable to describe bands such as this guitar/drums/harmonica trio without using the phrase bluesy squall at least once, i might as well drop all pretense of insight and just call it bluesy squall right up front. Ergo, bluesy squall it is. Let me know to whom i address the royalty check. I Feel So Electric is kind of like what i imagine the Rolling Stones might have imagined they were sounding like when they were in actuality subjecting us to pale dreck like Little Red Rooster, however, more often than not, the disc kinda sounds like two Bob Log IIIs, a third guy bound and determined to do for the blues harp what Johnny Ramone did for the Mosrite ((with a rare excursion into Dylan-honk or two)), but no motorcycle helmets nor Boob Scotch. Well, except for Witch Hunt, which sounds like Howlin Wolf doing that moaning thing in Hasil Adkinss left ear, to noteworthy effect. Abidih abidih abidih, thats squall, folks! –Rev. Norb (Norton, nortonrecords.com)

In Toytown: 2 x CD
Even on a label that released disparate oddities by the likes of Annie Anxiety, Captain Sensible, and Rudimentary Peni, Cravats were an anomaly. Equal parts Crass, Captain Beefheart, and what occasionally sounds like some coked-out funk band on a Black Randy bender, they delivered abrasive, dissonant, and oddly groovy tunes with humor, tautness, and a level of musical sophistication that stood well outside the comfort zones of the average punker. Here their four singles on the Small Wonder label are collected with the titular album on one disc, which itself is paired with a new remix of the entire album by none other than Penny Rimbaud, who produced some of those early releases. Crucial stuff here for those who like their punk a bit more esoteric and challenging than the requisite polka beats. –Jimmy Alvarado (Overground)

Stick To Your Guns: CD
Twelve songs on this debut CD from this five-piece band from Germany play some cool oi mixed with some speedy hardcore. These guys have been around for a long time in other bands like Maskapone and I Defy, took their past experiences, and brought them to this band. They combine all their older bands and other influences and have created a pretty damn good release with lots of power and passion. This is a great CD to sing along to and hit the repeat button on your CD player. –Guest Contributor (Aggrobeat, aggrobeat.com)

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