My record-buying patterns tend to have peaks and valleys, sometimes leaving me with crates of records that I bought 5 or 6 years earlier without ever listening to them all that much or even paying attention to how big the pile was getting (like, I somehow managed to end up with three or four Purling Hiss LPs, what the fuck). Psychedelic Horseshit are one of those bands with multiple records in the crate, almost never to be taken out unless it's to post a picture on Tumblr or something (inside joke, ignore it). I mean, their shit's sorta cool in theory -- "Poor Fidelity Mixed With In-Jokes" was always my go-to bin at Record Town, and putting "New Wave Hippies" on an album being released by Siltbreeze is about as funny as it gets -- but in a lot of ways their shit's kinda flimsy, too. Maybe I kept buying their records because I was hoping one of 'em would stick, I dunno. I did that with Pavement back in the '90s, and look what happened: they suck now. (Actually, that's not true, I've never bought a Pavement record.) Maybe I'm holding onto them because I'm hoping for a massive lo-fi revival soon, and I'm gonna be on the ground floor of that thing, you bet, or as soon as the Youth Crew revival is over, at least. Maybe Box Elders will become cool again. Or maybe there's no point to this I'm just rambling to fill space. Hey, go read Paste or that jerk who writes reviews for Tiny Mix Tapes, why don't you? Stop bugging me. The fuck.
To my ears, CIA's "God, Guts, Guns" is easily the best '80s hardcore 7-inch to ever come out of Connecticut, especially if you don't count the Youth Korps demo, which I sorta don't because the Youth Korps EP was only released as a bootleg after-the-fact (the list kinda goes 1. CIA 7", 2. Violent Children 7", 3. Can't Close My Eyes or Hit Squad for God or No Milk on Tuesday or something, 4. Reflex From Pain. I dunno, it's kind of a rough draft, maybe I'll keep working on it). I think makes the CIA 7" such a classic record is that the sound is fairly hefty -- you almost can't beat the mix between all the elements, guitar drums vocals bass, it's practically perfect -- plus all of the songs totally rip and are way catchy as far as hardcore songs go. Bones has always been a very underrated vocalist, or underrated by me at least since I was never the biggest fan of 76% Uncertain (FYI: CIA and Reflex From Pain eventually morphed into 76%), but Bones could carry a melody and his voice had a lot of grit to it, which overall made "God, Guts, Guns" sound relatively tough and on the level of some of the best Boston and NY records from back then. The lyrics are some clever horseshit, too.
"God, Guts, Guns" was re-issued a few years ago as a 12" with some bonus tracks, which is what I'm posting here; if you want to hear the original EP, or the Youth Korps EP while you're at it, then it's pretty easily found on the internet (Erich Keller's "Good Bad Music" blog is usually good for that). Admittedly, the bonus tracks aren't all that great, especially the covers and live tracks on the flip, but the Audio West demo tracks and the outtakes from the 7" are pretty useful. "Violence" was originally released on the Fartblossom Enterprises "Empty Skulls" compilation, I'm pretty sure, so you might've heard that one before. Todd and Kenny from 76% have a new band now called Watchlist that just released an album that's surprisingly very solid, comparable to Off! and stuff like that, and you can peep that stuff over here --> https://www.cdbaby.com/cd/watchlist
This is a mix that I posted the other day on Tumblr, which is where I hang out all day now instead of doing something useful. It took me a while before I remembered that I also have a music blog -- although that's a bit of a stretch, as it means you have to count a readership of .001 per day as "having a music blog" -- and so I decided to post it over here as well. This isn't a mix of mostly new tracks, more like just a batch of songs that I've been listening to in the car lately that I thought fit well together, so I made a mix out of them just for ha-ha's. There's even a hidden message involved, although it's probably not that important and besides I totally just forgot what it was anyway.
1. Judas Priest - Delivering The Goods
2. Nasal Boys - Hot Love
3. Bloody Knives - Broken
4. Triage - Triage Theme
5. Chlorine - Power
6. BÄDDAT FÖR TRUBBEL - Inte Varit Sü Tuff
7. Randy Newman - Gone Dead Train
8. Daddy Maxfield - Rave ‘n Rock
9. Thank You Mr. Keating - Gentle Jesus and Drugs
10. Dead at 24 - When Delirium Comes
11. Boulders - Her Taste
When I heard that there was going to be a new Speaking Canaries LP out on Chunklet, I almost pissed my pants. Not literally, of course (it's not writing* if you're not lying just a little bit), but I was still pretty damn excited. Robert Griffin had mentioned years ago in the liner notes to 97 that there was an unfinished Speaking Canaries LP just laying around somewhere, "scrapped due to lack of funds, and Damon is somewhat ambivalent about completing it", but I'm pretty sure that's not what this is. What this is, in fact, is the first-ever Speaking Canaries recordings from 1990, meaning prior to "The Joy of Wine", even. Now, I love all the Speaking Canaries records as if they were my own children (there's that 'lying' part again), but "Joy of Wine" doesn't represent the best level of rocking out of all of them -- hey, you can't have all five of them be your favorite -- but fear not, "Platter Base Must Be Constructed of Moon Rock" is easily on the level of "Terrestrially Challenged", "Life-Like Homes", and "Get Out Alive" as far as quality-of-rockin' goes. I don't remember hearing any vocals on any of the tracks, which is why they're labeled as demos I guess, but this is definitely not basement-level sonics here. I haven't heard the vinyl yet, which I'm sure sounds amazing, but I was listening to the files in the car and when "Winning Son" came on it just exploded out of the speakers. You may recognize a couple of the song titles from other Speaking Canaries releases ("Toblewee Uslywus", the aforementioned "Winning Son"), but the tracks that I've never heard before or possibly didn't end up as other songs are total fucking hurricanes. "Mitchum Dope", "Hall of Force", etc etc, will all blow your head off like the rotten melon that it is, especially if you dig ROKKK, which I kinda fucking do. *ha ha, I called this writing
"The Cuss Set" by the Guinea Worms should've made my best-of 2014 list, but I chickened out and made up some sort of rule about 'physical releases only', which was total bullshit because then I snuck some Bandcamp-only releases on there, so basically I don't know what the fuck I'm talking about. Actually, the only people who talk about their best-of lists after the fact are jerks like Dan Moserock when they're throwing some band overboard just for spite, and who wants to be like that? (Lots of people, apparently.) (oh, by the way, you haven't been sending me enough promos, the next thing your label sends me is getting a bad review.) (shit, Earles forgot his inhaler again.) Anyway, "The Cuss Set" starts off with a somber, single-minded piano riff called "Booze's Control", which right away sets up the notion that this isn't going to be the big-rock yuck-fest that maybe you were expecting, plus is some sort of pun on Blues Control, I'd imagine (no ending is implied, but it comes quickly enough anyway). Most of this is actually sorta Neil Young-ish in a way, especially "Lady Shrapnel", which hints of Crazy Horse big-time; elsewhere there's a line that goes, "So this is rock 'n roll autumn, in the county of heart". Old man, take a look at my life. Wait, "Sober Jerk" is a giggle-fest, I take that back. The best pun on the whole thing is the song title, "Super Willin'", which fits three purposes: 1) It's a pun on 'super villain' 2) It says he's super-willin', like, for anything, maybe even enough for Little Feat 3) His name is Will, so he's super-Willin' it. Obviously I should've ended this review a couple of sentences ago.
At one point maybe five or six years ago, if you ordered a bunch of stuff from any of the record label distros they'd throw a handful of CDs into the box as they were mailing it out, just to get rid of 'em. No doubt the CD boom came crashing down so hard that they all got stuck with thousands of lame clunker CDs that were never gonna sell, so it became like that Mitch Hedberg joke about people on the sidewalk handing out flyers: "here, YOU throw this away". I don't think I ever actually listened to any of the free CDs that I got -- I mean, what the fuck do I care about Small Brown Bike -- but when I found a bunch of them in a box while I was moving a couple of months ago, it was like 2007 all over again. I couldn't tell what this one was at first; the spine just says "My Heart Is A Merciless Piece Of Metal And Fire" so I figured what the heck, any band with a name like that has got be completely hilarious, right? Then I looked it up on Amazon, and that's just the title of the album while the band's name is really Crucible. The only funny part to all of this was reading the bitchy review that some nerd left on Amazon because he apparently thought this CD was by another band named Crucible (some prog-rock/Genesis rip-off) instead. Gosh, I hope you were able to get your 9 cents (plus shipping) back, nerdy Marillion-ass-sucking guy.
I got picked for MRR's Monday Photo Blog the other week, which was kinda cool. It's actually the second time I've been picked, so I'm practically my own category on the MRR website now (this isn't true, I'm just making it up to be a jerk). You can scope 'em out by clicking on the links here:
I was out at a food place last night, the one that normally gives you a chocolate chip cookie w/ their $5 meal, only they left out the cookie and when I asked about it they told me, "we ran out, there'll be some more in like five minutes". So I figured fuckit, I'll wait, I'll get it afterwards when I'm done eating, because I kinda like fresh chocolate chip cookies. Plus, you know, they owe me a cookie, motherfucker. When I went back to the counter a few minutes later, the guy says "well, they just came out. They're kinda soft, you probably won't want one yet because it'll bend." I said, "that's fine, I don't care." Then the guy says "well, it's kinda hot, you don't want to burn yourself." Fucker was trying to talk his way out of giving me the cookie! I mean, come on, for a 2" chocolate chip cookie to burn you, that's gotta be the hottest cookie in the universe. Guy's acting like he's about to hand me molten lava or hot moon rocks or something. Go in the back, put the metal suit on with the Homer Simpson tongs, and hand me my cookie.
Anyway, here's some pictures from a show that I went to.
You probably haven't been around long enough to know this (I realize not everyone's as old as Tim Hinely), but when bands like Killdozer and Drunks With Guns first started coming out, a few writers took the obvious angle that they were "anti-hardcore bands": like, thrash was supposed to be fast, and these bands were seemingly playing as slow as possible, so they must be trying to sound like the opposite of hardcore, right? I'm not sure if that was really the case (I'm also not sure that Byron Coley actually liked Lost Generation, either, but the review he wrote sure seemed like it), but if Killdozer sounded like anything early-on it was probably like a good American knock-off of the Birthday Party. Although hardcores like myself didn't know it at the time, I mean, who knew about the Birthday Party back then, other than they were some band that Tim Yohannan made fun of once (fuck MRR, too). To me, they just sounded like some cool Wisconsin rock band, contemporaries of Die Kreuzen and Couch Flambeau and Mecht Mensch and so forth. Sounds like a pretty good scene to me. Then Killdozer got older and everyone started liking their Neil Diamond and Black Oak covers, so they started putting one those on every record, which got old really quick and so they descended into some sort of novelty act, like Shel Silverstein does Flipper, or something. This single ("The Pig Was Cool") came out long after they kicked one of the brothers out, which kinda sucked. I've never bothered to listen to the EMF cover on the flipside and I'm not about to start now.
JONLY BONLY "PUT TOGETHER" LP (12XU)
It's a wonder that I caught onto this record at all, since I don't really dig the first four tracks and at times the singer's voice reminds me of some song by Rash of Stabbings (you don't know who they are, but that's not a compliment). Then the fifth track, "Steady Hands", kicks in and sounds a lot like something that would've been on Ace of Hearts or one of those Propeller compilations -- like Busted Statues or Art Yard, totally -- and I'm completely sold on this record from there on out. Oh look, I'm comparing an Austin band to a bunch of bands from Boston, that's really brilliant of me.
COTTAGING "THE AMYL BANSHEE" EP (WHARF CAT)
Been waiting weeks for this one, or ever since I saw Cottaging in Providence and they pinned my ears back, leaving me wondering why I hadn't really been paying attention to them before (I guess being the only band left out of the whole Cult Maternal mess that's any good will do that) (or being in Impose, there's the fuckin' kiss of death). Live, they were some kind of alloy of Rifle Sport/Tar/Man-Sized Action -- i.e., tuff Midwest-Chicagoland style rock -- tho' on record they're a lot closer to pre-disko TV Ghost or any wunna those Cramps/Birthday Party type bands, I suppose, only with lotsa of other weird sounds/fucked-up hiss and industrial-noise shit added on top. Don't let my lack of unique vocabulary fool you, this is total pummeling swellsville from start to finish. I mean, New England isn't even really all that good (not as long as Chris Prorock still lives there) but if Cottaging isn't one of New England's top handful of bands then I haven't been getting out often enough, I guess.
DEGREASER "ROUGHER SQUALOR" LP (EVER/NEVER)
I don't want to be the first person to compare DeGreaser to one of Timmy Vulgar's projects, although judging by the press kit, apparently I am. And while there's no way that "Rougher Squalor" carries any of Timmy's, um, nuance, a lot of this does sound like "Monster Walk", for instance. Which is to say, your appreciation for loudness, filth, and the excessive use of wah-wah pedals will probably have a huge role in whether or not you like this record.
PINK FROST "TRAITORS" (SMART LIKE VIRUS)
Heavy alt-rock, like a cross between Bush and some shoegazey band, with a singer who sounds just like that jerkoff from Jane's Addiction. I'm probably making this out to be a lot worse than it really is, because this is way better than most albums I've heard where the songs are all five minutes long and sound a lot like any number of songs that I've already heard before.
TRANS UPPER EGYPT LP (MONOFONUS PRESS)
Monofonus Press is one of my favorite labels, or they came out with that goofy John Wesley Coleman LP a couple of years back that I really liked a lot, at least, and they've had something-or-other to do with The Rebel/Country Teasers. This one took me totally out of left field (like Darrell Johnson benching Bernie Carbo) because I'm not usually looking for this sort of stuff -- meaning trippy psych-krautrock space jams from long-haired bands out of Italy -- but I wouldn't be listening to this Trans Upper Egypt album if I didn't really like it, especially with that killer new Breakout 7" laying just few feet away, practically begging to be listened to. Beats the fuck outta me how to describe this, what the fuck do I look like, Everett True? Fuck that guy.
MIKE HUDSON & THE PAGANS "HOLLYWOOD HIGH" (RUIN DISCOS)
Straight up, there's like two or three really good songs on this album, I'm not kidding. Not sure how they're getting away with calling this band "The Pagans" (it's a couple guys who were in Keel plus the piano tech from Whitesnake, I'm pretty sure), but "I Want a Date", "I Just Got Up", and "Detention Home" are damn-near ball-crunchers. Then there's a remake of "(Us And) All Of Our Friends Are So Messed Up", which actually tops the one on "Family Fare" (the last studio-recorded 'album' by the Pagans before this one, I think? (???)), except that Mike Hudson's voice is more phlegmy than snotty now, but still, he's great to hear. Dude's a legend in my lifetime, if you're not up on The Pagans then I don't know what the fuck you're doing. There's some lengthy spoken-word-over-Peter-Laughner-style tracks that are way worse than anything on that (similar but actually good) Hudson-Styrene album, maybe they should've scrapped those and pressed the rest to vinyl with a shitty xerox sleeve and it would've made one of the best 7"-ers of the year, or at least one of 2014's biggest surprises. Which is a whole lot better than "8 tracks in a .zip file that only Byron Coley and some smelly old misdirected newspaper writers will spend time listening to".
NEIGHBORHOOD BRATS "RECOVERY" LP (DERANGED)
Mocking the press release when reviewing a record is generally not a good idea -- I mean, who among us hasn't been embarrassed by something they'd written when they were younger/not concentrating? Certainly not me, and that's just the six times so far tonight -- but the one for this record is so stupid ("punk isn't dead, it just has an identity crisis") that it almost makes you not wanna listen to it. Which would be too bad, because the record itself is pretty good. If you're into the whole Dirtnap Records/Ramones-core thing (Steve Adamyk Band, Marked Men, etc etc) but find yourself sometimes leaning towards something darker with heavier riffs like Nervosas maybe, then Neighborhood Brats should be your deal. And I'd offer Deranged to write their press releases for them, but between celebrity judge appearances on Rock and Roll Fantasy Camp Battle of the Bands and updating this blog once a month, my hands are kinda full these days.
Even though I'm not planning on shutting this blog down just yet, updates will continue to be minimal. Obviously Blogspot has long since kicked the bucket as far as being a useful platform for anyone who's even slightly interested in having other people see the work they're doing and maybe starting a discussion over it. For now, Tumblr has become the place where I've been doing most of my posting as far as bands and photos go, so until Tumblr dies off too, you could skip on over to there if you'd like. Or you can close the browser window and go read a zine, I've heard they've been making a comeback, even though (according to the interviews I've read) Jay Hinman's is the only one that exists so far.
For the record, I have not only lost my ability to take a joke, but I can also no longer sense danger, communicate with sea animals, see through walls, transform myself into a bucket of water or block of ice, burn a batter's bat to ashes with my fastball, fly an invisible plane, nor start fires and cause seismic waves using only mind control.
The labels that have enough money to buy advertising all put out shitty records
If you sent me something I must've lost it
How to use this blog
You can browse this blog and listen to the songs without having to download them first, by clicking on the highlighted song titles. The files will open in a new window; you can either hit "Play", or you can click on "Download" up in the right-hand corner to download them to your computer, which is the preferred method, because there's usually a cool graphic (or sometimes even lyrics) when you play the files using Windows Media Player.
Also, clicking on the photos will enlarged them. I guess some people haven't figured that out yet.
Thee ex-fanzines (all of these sucked, you're not missing anything)
Run It #3, January '86
Boris #1 (i.e. Run It #4), May '86
Dig 'Em, December '86
Brushback #1, June '87
Brushback #2, March '95
Brushback #3, May '95
Brushback #4, Oct '95
Brushback #5, Fall '96
Brushback #6, Fall '97
Incremental Decrepitude #1, Aug '11
Incremental Decrepitude #2, Feb '14
Incremental Decrepitude #3, Sept '14
"Within a grainy film-still between a summer sunset and the end of times lies the post-punk squall of Weekend. Weekend filter the aggression, tempo and sneer of punk through a wall of reverb, haunting melody, feedback and primitive garage guitar.... a totally distinctive take on the history of post-punk noise rock."
Recent awesome-like stuff from those other blogs
fucking nothing, can you believe that. blogs are dead
This blog was originally intended to be a place for me to write about the records in my collection, regardless of their rarity/collectability-- or, at least, it was when I first started. Lately it's just been an excuse for me to make dumb jokes and spout off about a lot of stupid crap. Sometimes different things will be thrown in along the way just to confuse people and piss them off, which is okay. All screw-ups, wrong dates, and mis-statements will be ignored by me as if they were intentional, except for grammatical errors which will be edited and rewritten at least five or six times if necessary. Facts will often be misrepresented, as a way of mocking those people who think such things are important. Please note: This is just a hobby for me, and bands are written about here either because I own one of their records or because I've seen them play before and like them. Posting press releases for crappy bands that I have no use for is not really how I want to spend my spare time. If you want to know what kind of bands I like, just look at the sidebar to see which bands I've written about already, and you'll notice that your PR firm doesn't represent any of them. Most of the live band photos on this blog are mine, and if there's one of your band that you like then please feel free to use it, I don't care. It's your band anyway. The blog title itself was swiped from Paul Caporino-- "One Base on an Overthrow" was originally going to be the title of a M.O.T.O. record that I was going to release back in the '90s, but that never actually happened. Lucky for you, I guess.