Three Records We Slept On in 2011
An Excerpt From 2012 Mid-Year Review
By Nathan G. O'Brien on Scene Point Blank
Brown Sugar—Sings of Birds and Racism (Feral Kid)
Brown Sugar takes cues from both the past and present—sponging The Germs and Black Flag as much as contemporary hardcore’s boundary-bending tendencies ala Nö Pöwer or Raw Nerve—while lacing it with their own unique weirdness. They start with some mysterious-guy underpinnings, add a little saxophone buffoonery, sprinkle it with DIY cut-n-past imagery, and make it a vinyl-only release. The end result is Sings of Birds and Racism; the pluperfect amalgamation of fast art punk.
Vallenfyre—A Fragile King (Century Media)When I asked my friend who writes for Decibel Magazine if Vallenfyre’s debut album A Fragile King was really as good as they said it was in their year-end feature he replied, “I’m not sure; I’ve never actually heard it, but I think it is knuckle-dragger death metal.” (Not listening to a record your employers say is one of the best of the year? Typical.) Knuckle-dragger roughly translates to “old guys playing old school death metal.” And that is pretty much exactly what Vallenfyre is—they are a British super group featuring members of My Dying Bride, Paradise Lost, Cradle of Filth and Doom. For an upstart band A Fragile King shows them standing head-n-shoulders above the congested pack of classic Swedish death metal revivalists that were making the rounds in 2011. The guitars and vocals are absolutely enthralling and it’s all held together masterfully by a Dis-tinged doom-trodden rhythmic pounding. Half way into the New Year, and I keep going back to this one—it’s inescapable.
Triumph of Lethargy Skinned Alive to Death—Some Of Us Are In This Together (DSB)
Based out of Seattle, WA and featuring current and former members of a slew of other PNW notables like Murder City Devils, Pretty Girls Make Graves, Modest Mouse, Cold Lake, Mongrel Blood, Rabbit Ears and others, TOLSATD has quietly been creating some of the best wierdo-art-punk-noise for close to a decade now. Whether it be cassettes, CDs or various vinyl formats, they have already amassed an extensive catalog of music, spread accross a number of different indie labels . Last year's Some Of Us Are In This Together is their latest, and most varied to date. Where their early work came off like experimental home recordings, the new record plays like the perfect culmination the band's yearly progression. They have structured marvelous, albeit boundary-less, songs. The dual vocal approach of Spencer Moody and Andrea Zollo recalls both the anger and angst of their old hardcore band Area 51 as well their eclectic arty and dance-informed features on fellow band member Dann Gallucci's A Gun Called Tension record. The whole thing plays like a vagabond experience—it's poectic, emotive and incredibly alluring.
7/8/12
7/4/12
Scene Report: Japandroids live at 7th St. Entry
Japandroids live, 7th St. Entry, Minneapolis, MN, 7/3/12
By Nathan G. O'Brien on Scene Point Blank
When a touring band starts their set by saying, “It feels like we’re back home, Minneapolis”, the natural instinct is to go Okay, yeah sure buddy— I bet you said the same thing last night in Chicago/Milwaukee/Madison/Detroit/somewhere in Canada/etc. But when Japandroids lead singer and guitar player Brian King said it to a sell-out crowd Tuesday night, the eager, packed-in audience opted to believe him. Minneapolis, for all of our shameless self-loving scenesterism, can be a fussy crowd; often times offering our lesser-known hometown bands nothing but folded arms and blank stares. That being said, we tend to treat out-of-towners—at least those with a good amount of buzz—really, really well. So it comes without surprise that Japandroids, who are in heavy rotation locally on both 89.3 The Current and 770 AM Radio K, were welcomed with open arms.
On the last night of their American tour, Japandroids landed at the legendary 7th Street Entry in downtown Minneapolis (where the Replacements once played five nights in a row in October of ’85 and where Atmosphere did an eight night stand twenty years later) to blow off some steam before the long, show-less drive back to Vancouver. Despite the hellish temperatures (a heat index up around 107 degrees Fahrenheit) King and drummer David Prowse played as if it had nothing left to lose; like they literally did live here and could just go home and pass out after the show. They frantically and sometimes sloppily, bashed through every track from their outstanding new record Celebration Rock. The songs that seemed to garner the most crowd participation were the lead-off single “The House That Heaven Built”; with its overabundance of ooh-ooh-ooh sing-a-long parts, the youthful drinking anthem “Younger Us”, and the album opener “The Nights Of Wine and Roses”; which was preceded by King urging everyone to check out The Dream Syndicate album by the same name, saying that the creation of Celebration Rock was influenced heavily by it.
The set was rounded out with select gems from Post-Nothing such as “Young Hearts Spark Fire”, “Wet Hair” and one of my personal favorites, “Sovereignty.” It was an oddly touching few minutes, as the Minneapolis crowd, who has its own love/hate relationship with finicky weather, proudly sang along to the PNW anthem: “It’s raining in Vancouver, but I don’t give a fuck.”
Of interest was how, even though it was an 18+ show, the majority of the audience seemed to be in their late 20s to even early 40s. (No doubt, a result of the Current’s affect on the local music scene—it’s undeniable, indie rock crowds have gotten older here since they debuted on-air in ‘05. It’s something that is quite heartwarming to see actually.) Near the end of the set they played the final song off of Celebration Rock, “Continuous Thunder.” Despite the band’s apologetic nature for playing “a slow one” it was near-perfect moment, as the lyrics, centered around lost love, resonated well with the us older attendees that may have a bit more life experience under our belts in that department.
The final song of the encore-less performance was a lengthy, raucous version of a Gun Club cover, “For the Love of Ivy”, in which it looked at times like the band might go into instrument-smashing mode. They didn’t however, which was kind of disappointing, but they did look completely spent, as if they gave it everything that had left in them. And that alone was completely satisfying. Besides, everyone else down on the floor looked just as exhausted. But we actually got to go home and pass out afterwards. Godspeed Japandroids!
Read original full-length version here.
By Nathan G. O'Brien on Scene Point Blank
When a touring band starts their set by saying, “It feels like we’re back home, Minneapolis”, the natural instinct is to go Okay, yeah sure buddy— I bet you said the same thing last night in Chicago/Milwaukee/Madison/Detroit/somewhere in Canada/etc. But when Japandroids lead singer and guitar player Brian King said it to a sell-out crowd Tuesday night, the eager, packed-in audience opted to believe him. Minneapolis, for all of our shameless self-loving scenesterism, can be a fussy crowd; often times offering our lesser-known hometown bands nothing but folded arms and blank stares. That being said, we tend to treat out-of-towners—at least those with a good amount of buzz—really, really well. So it comes without surprise that Japandroids, who are in heavy rotation locally on both 89.3 The Current and 770 AM Radio K, were welcomed with open arms.
On the last night of their American tour, Japandroids landed at the legendary 7th Street Entry in downtown Minneapolis (where the Replacements once played five nights in a row in October of ’85 and where Atmosphere did an eight night stand twenty years later) to blow off some steam before the long, show-less drive back to Vancouver. Despite the hellish temperatures (a heat index up around 107 degrees Fahrenheit) King and drummer David Prowse played as if it had nothing left to lose; like they literally did live here and could just go home and pass out after the show. They frantically and sometimes sloppily, bashed through every track from their outstanding new record Celebration Rock. The songs that seemed to garner the most crowd participation were the lead-off single “The House That Heaven Built”; with its overabundance of ooh-ooh-ooh sing-a-long parts, the youthful drinking anthem “Younger Us”, and the album opener “The Nights Of Wine and Roses”; which was preceded by King urging everyone to check out The Dream Syndicate album by the same name, saying that the creation of Celebration Rock was influenced heavily by it.
The set was rounded out with select gems from Post-Nothing such as “Young Hearts Spark Fire”, “Wet Hair” and one of my personal favorites, “Sovereignty.” It was an oddly touching few minutes, as the Minneapolis crowd, who has its own love/hate relationship with finicky weather, proudly sang along to the PNW anthem: “It’s raining in Vancouver, but I don’t give a fuck.”
Of interest was how, even though it was an 18+ show, the majority of the audience seemed to be in their late 20s to even early 40s. (No doubt, a result of the Current’s affect on the local music scene—it’s undeniable, indie rock crowds have gotten older here since they debuted on-air in ‘05. It’s something that is quite heartwarming to see actually.) Near the end of the set they played the final song off of Celebration Rock, “Continuous Thunder.” Despite the band’s apologetic nature for playing “a slow one” it was near-perfect moment, as the lyrics, centered around lost love, resonated well with the us older attendees that may have a bit more life experience under our belts in that department.
The final song of the encore-less performance was a lengthy, raucous version of a Gun Club cover, “For the Love of Ivy”, in which it looked at times like the band might go into instrument-smashing mode. They didn’t however, which was kind of disappointing, but they did look completely spent, as if they gave it everything that had left in them. And that alone was completely satisfying. Besides, everyone else down on the floor looked just as exhausted. But we actually got to go home and pass out afterwards. Godspeed Japandroids!
Read original full-length version here.
7/1/12
Scene Report: A Punker's Revenge-A Celebration of Speedboat Gallery
A Punker's Revenge: A Celebration of Speedboat Gallery @ CO Exhibitions, Mpls, MN, 6/30/12
Speedboat was an art gallery in St. Paul that was open from '88 to '94 that, aside from art shows, had like, rad punk and alt shows and Schlitz beer and stuff. I can't really speak on it, as I wasn't an actual resident of the TC at that point. All I really remember is reading something about it in Details magazine back in the day, which was kind of a big deal to me probably. I'm told that, for those that were hangin' back then, it's on some real personal/emotional type shit. And as someone who has been around for a minute now myself, and seen my fair share of all-ages spaces, galleries, old bastions of punk and youth, etc. close up shop, I totally respect that for sure. So, it was a no-brainer that I would be checking out the opening of the SBG revival last night. Bands, beer, art...old/former scenesters--DUH!
It was way nice up in there too. The art was a mix of old flyers (Slant 6, Mickey Finn, Lifter Puller, NOFX), some pieces that had ran in Speedboat back in the day, and new-ish things from new-ish peeps. Much of it reminded me exactly what it is I love about art: that, like punk rock, anyone can do it...and that it is totally undefinable. Most of it had a very--and I don't mean this in any way other than complimentary--untrained aspect to it. Very DIY'y.
Two bands played. One of which was Speedboat founder Paul Dickinson's band Francis Gumm. They were alright but I missed most of their set. It sounded very much like a TC band that would have been around in the '90s. The other band, whose name I erroneously forgot to write down, I really enjoyed. It was a post-punky, Brit rocky, male/female dual vocals thing with keyboards. The dude told an endearing story about how he had a I'm-getting-old type panic attack just minutes after arriving, when seeing some of the flyers on the walls triggered memories of watching Bikini Kill and Huggy Bear at Speedboat back in the day.
As for the people in attendance: predictably is was the beer bellies and balding crowd--would-be "hip parents" that are in all actuality out-hipped by their teenage sons & daughters. Overheard: "See son, I told you I used to be cool." On the other hand, it was the kind of place where guys in their 40s could casually stroll in, wearing a super hero t-shirt that doesn't look at all out of place or ironic, and make beeline for the beer.
And on top of it all off, anyone that was looking close enough got Craig Finn's phone number--pre area code split, back when the entire metro was 612. (I tried it--it doesn't work.)
-BNB
For more about the history of Speedboat Gallery, read an oral history here.
Speedboat was an art gallery in St. Paul that was open from '88 to '94 that, aside from art shows, had like, rad punk and alt shows and Schlitz beer and stuff. I can't really speak on it, as I wasn't an actual resident of the TC at that point. All I really remember is reading something about it in Details magazine back in the day, which was kind of a big deal to me probably. I'm told that, for those that were hangin' back then, it's on some real personal/emotional type shit. And as someone who has been around for a minute now myself, and seen my fair share of all-ages spaces, galleries, old bastions of punk and youth, etc. close up shop, I totally respect that for sure. So, it was a no-brainer that I would be checking out the opening of the SBG revival last night. Bands, beer, art...old/former scenesters--DUH!
It was way nice up in there too. The art was a mix of old flyers (Slant 6, Mickey Finn, Lifter Puller, NOFX), some pieces that had ran in Speedboat back in the day, and new-ish things from new-ish peeps. Much of it reminded me exactly what it is I love about art: that, like punk rock, anyone can do it...and that it is totally undefinable. Most of it had a very--and I don't mean this in any way other than complimentary--untrained aspect to it. Very DIY'y.
Two bands played. One of which was Speedboat founder Paul Dickinson's band Francis Gumm. They were alright but I missed most of their set. It sounded very much like a TC band that would have been around in the '90s. The other band, whose name I erroneously forgot to write down, I really enjoyed. It was a post-punky, Brit rocky, male/female dual vocals thing with keyboards. The dude told an endearing story about how he had a I'm-getting-old type panic attack just minutes after arriving, when seeing some of the flyers on the walls triggered memories of watching Bikini Kill and Huggy Bear at Speedboat back in the day.
As for the people in attendance: predictably is was the beer bellies and balding crowd--would-be "hip parents" that are in all actuality out-hipped by their teenage sons & daughters. Overheard: "See son, I told you I used to be cool." On the other hand, it was the kind of place where guys in their 40s could casually stroll in, wearing a super hero t-shirt that doesn't look at all out of place or ironic, and make beeline for the beer.
And on top of it all off, anyone that was looking close enough got Craig Finn's phone number--pre area code split, back when the entire metro was 612. (I tried it--it doesn't work.)
-BNB
For more about the history of Speedboat Gallery, read an oral history here.
| "AC/DC's Washing Machine" by Sean Smuda |
| Art by Frank Gaard |
| Francis Gumm |
| "Old Man Joke" by Michael Mott |
| "Charles Barkley Series" by Noah Harmon |
| "It Was Nice To See You" by Jake Spriggins |
| "Wishful Thinking" by WC Wormley |
| ??? |
6/26/12
Record Review: Oh No-Ohnomite
Oh No-Ohnomite (Brick)
By Nathan G. O'Brien on Scene Point Blank
Following two collaborative efforts already this year alongside his fellow beatsmith and emcee The Alchemist as the duo Gangrene—the Vodka & Ayahuasca LP and the Odditorium EP—the West Coast producer and rapper Oh No returns once more for a solo mission with Ohnomite. Oh No—the younger brother of Madlib and son of singer Otis Jackson—was granted unmatched right of entry to the Rudy Ray Moore/Dolemite audio archives—which included legendary material from The Human Tornado, Petey Wheatstraw, the Dolemite Soundtrack and more, plus a multitude of previously unreleased and alternate acapellas and instrumentals. With that access came free rein to sample and manipulate it any way he see fit. The end result is a trunk-rattling chaotic burlesque of witty lyricism and gritty beats assembled from the nastiest fragments of funk, soul and Blaxploitation. ...continue reading in new window.
By Nathan G. O'Brien on Scene Point Blank
Following two collaborative efforts already this year alongside his fellow beatsmith and emcee The Alchemist as the duo Gangrene—the Vodka & Ayahuasca LP and the Odditorium EP—the West Coast producer and rapper Oh No returns once more for a solo mission with Ohnomite. Oh No—the younger brother of Madlib and son of singer Otis Jackson—was granted unmatched right of entry to the Rudy Ray Moore/Dolemite audio archives—which included legendary material from The Human Tornado, Petey Wheatstraw, the Dolemite Soundtrack and more, plus a multitude of previously unreleased and alternate acapellas and instrumentals. With that access came free rein to sample and manipulate it any way he see fit. The end result is a trunk-rattling chaotic burlesque of witty lyricism and gritty beats assembled from the nastiest fragments of funk, soul and Blaxploitation. ...continue reading in new window.
6/19/12
HDD Radio #6: Punk Rock 2-4-1s
For this episode we serve up a gigantic helping of punk effin’ rock in the Classic Rock Radio-like format Twofer Tuesdays. That’s right, it’s 2-4-1s—every artist, two songs each! Listen as our fearless DJ rambles on at length, saying virtually nothing of importance, whilst keeping intact all the confusion, factual inaccuracies, and mathematical errors you’ve grown accustomed too. Sets include: New Swedish “epic crust”, ‘90s California punk, and songs from early ‘00s split LPs.
Tracklist:
Anatomi-71 - Mot Morkare Vatten
Wolfbrigade - Slaves of Induction
Wolfbrigade - Hurricane Veins
Martyrdod - Ett Hjarta Av Eld
Martyrdod - Kottberg
Anatomi-71 - Omen
Bad Religion - Eat Your Dog
Bad Religion - Sensory Overload
Social Distortion - 1945
Social Distortion - Playpen
Fear - Disconnected
Fear - Gimme Some Action
The Vandals - Wanna Be Manor
The Vandals - The Legend of Pat Brown
Circle Jerks - Beverly Hills
Circle Jerks - Live Fast Die Young
TSOL - Superficial Love
TSOL - Abolish Government/Silent Majority
What Happens Next? - The Price We Pay For Vegan Convenience
Lifes Halt! - Casa De Herrero, Cuchillo De Palo
From Ashes Rise - So Say the Wise…
From Ashes Rise - Uniforms
Victims - En Galen Drom
Victims - End Up In Pain
Crucial Unit - Scrabble Punx
Crucial Unit - This Machine Kills Buffets
Municipal Waste - Poser Disposer (?)
Municipal Waste - Haunted Junkyard
Phobia - Fallacy of Tomorrow
Phobia - Short Lived
Resist and Exist - Sung Lee’s Reflection
Resist and Exist - Apocalyptic Prison Struggle
Life’s Halt! - No Estoy Loco
What Happens Next? - Mano A Mano
Subscribe in iTunes here. Thanks for listening!
Tracklist:
Anatomi-71 - Mot Morkare Vatten
Wolfbrigade - Slaves of Induction
Wolfbrigade - Hurricane Veins
Martyrdod - Ett Hjarta Av Eld
Martyrdod - Kottberg
Anatomi-71 - Omen
Bad Religion - Eat Your Dog
Bad Religion - Sensory Overload
Social Distortion - 1945
Social Distortion - Playpen
Fear - Disconnected
Fear - Gimme Some Action
The Vandals - Wanna Be Manor
The Vandals - The Legend of Pat Brown
Circle Jerks - Beverly Hills
Circle Jerks - Live Fast Die Young
TSOL - Superficial Love
TSOL - Abolish Government/Silent Majority
What Happens Next? - The Price We Pay For Vegan Convenience
Lifes Halt! - Casa De Herrero, Cuchillo De Palo
From Ashes Rise - So Say the Wise…
From Ashes Rise - Uniforms
Victims - En Galen Drom
Victims - End Up In Pain
Crucial Unit - Scrabble Punx
Crucial Unit - This Machine Kills Buffets
Municipal Waste - Poser Disposer (?)
Municipal Waste - Haunted Junkyard
Phobia - Fallacy of Tomorrow
Phobia - Short Lived
Resist and Exist - Sung Lee’s Reflection
Resist and Exist - Apocalyptic Prison Struggle
Life’s Halt! - No Estoy Loco
What Happens Next? - Mano A Mano
Subscribe in iTunes here. Thanks for listening!
6/17/12
The Soda Killers #2 reviewed in MRR
TSK #2 got a nice review in the latest Maximum Rock-n-Roll. And made the Top Ten too. Still some left. Holla at the email if you're into it...or if you're wondering why it costs $5, we'd be more than happy to explain that to you. All you big-time frivolous spenders and wealthy folks can just hit the PayPal though, and we won't be mad at it one single bit. Trades not only welcome, but encouraged. Peace!
6/16/12
IYSAGL, CM #6 Out Now
If You Stink At Getting Ladies, Call Me--issue #6 out now.
A year and half's worth of really bad jokes and some Xeroxed-to-death crusty art steez.
Free. Mail Only. Send your snail addy to: bnb@hotdogdayz.com
6/14/12
Record Review: 1982 (Statik Selektah & Termanology)-2012
1982 (Statik Selektah & Termanology)-2012 (Brick/Showoff)
By Nathan G. O'Brien on Scene Point Blank
In what makes for a numerically confusing artist/album title (and opening sentence,) 2012 is the new record by 1982—the producer/rapper duo Statik Selektah & Termanology.
At just 30 years old, DJ/Producer Statik Selektah has enough projects under the flattened brim of his New Era cap to have earned veteran status—utilizing his turntablism skills and signature Golden Era-influenced boom-bap production, he holds a spot amongst the current ranks of the East Coast’s more pivotal figures. Over the course of a series of mixtapes and albums, he’s provided beats for some of rap’s highly revered MCs (Nas, Q-Tip, etc.) as well as having a hand in shaping the careers of emerging rappers (Saigon, Freddie Gibbs, Reks, etc.) Aside from a handful of EPs with various artists, 2011 saw him releasing a lofty yet superb solo outing Population Control, and teaming with Action Bronson on Well Done.
Similarly, Termanology has been making a name for himself with a number of well-received singles and mixtapes dating back to the early ‘00s. He was pushed into the underground limelight when Gangstarr’s DJ Premier stuck him with one of his reliable, cut-laden beats for the instant hit, “Watch How It Go Down.” The track earned him some much deserved praise; as he went on to appear in rap magazines like The Source and XXL. Since that time he has ran alongside such go-getters as The Alchemist, Pete Rock, Buckwild, Large Professor, and of course, Statik Selektah. In fact, 2012 marks the fourth time Statik Selektah and Termanology have teamed up under the 1982 moniker. ...read entire review after da jumpoff.
By Nathan G. O'Brien on Scene Point Blank
In what makes for a numerically confusing artist/album title (and opening sentence,) 2012 is the new record by 1982—the producer/rapper duo Statik Selektah & Termanology.
At just 30 years old, DJ/Producer Statik Selektah has enough projects under the flattened brim of his New Era cap to have earned veteran status—utilizing his turntablism skills and signature Golden Era-influenced boom-bap production, he holds a spot amongst the current ranks of the East Coast’s more pivotal figures. Over the course of a series of mixtapes and albums, he’s provided beats for some of rap’s highly revered MCs (Nas, Q-Tip, etc.) as well as having a hand in shaping the careers of emerging rappers (Saigon, Freddie Gibbs, Reks, etc.) Aside from a handful of EPs with various artists, 2011 saw him releasing a lofty yet superb solo outing Population Control, and teaming with Action Bronson on Well Done.
Similarly, Termanology has been making a name for himself with a number of well-received singles and mixtapes dating back to the early ‘00s. He was pushed into the underground limelight when Gangstarr’s DJ Premier stuck him with one of his reliable, cut-laden beats for the instant hit, “Watch How It Go Down.” The track earned him some much deserved praise; as he went on to appear in rap magazines like The Source and XXL. Since that time he has ran alongside such go-getters as The Alchemist, Pete Rock, Buckwild, Large Professor, and of course, Statik Selektah. In fact, 2012 marks the fourth time Statik Selektah and Termanology have teamed up under the 1982 moniker. ...read entire review after da jumpoff.
6/12/12
Scene Report: Royal Headache live at the Triple Rock Social Club
Royal Headache, The Arrivals, Condominium live, Triple Rock Social Club, Minneapolis, MN, 6/9/12
By Nathan G. O'Brien on Scene Point Blank
It was with some intrigue and, admittedly, mostly trepidation that I made my way to the Triple Rock last night to see Sydney, Australia’s Royal Headache. Originally my curiosity had been piqued because Extreme Noise, the beloved local volunteer-run punk rock record store, was sponsoring the event. Rarely do they attach their name to something that isn’t completely worthwhile. Yet, my apprehension levels had skyrocketed right about the time I read Royal Headache’s press release, which stated “They craft tight, irresistible, R&B-inflected punk songs, and hone a universal message of redemption through passion.” Now I understand a thing or two about drumming up interest in a band, especially when paid to do so, so I was not scared off so much by the “universal message of redemption through passion” part. That’s just one of those puzzling strings of words that press release writers craft in hopes that it will give their product some attention. No, what made me cringe was the “R&B-inflected punk songs” part. Other than hip-hop or the increasingly rare musical side of Justin Timberlake, I don’t really get into “R&B-inflected” anything, let alone punk. In the early ‘00s when everyone was in front of the stage shaking their hips to the Bellrays or the Dirtbombs, I was at the bar irritably ordering more drinks, wondering how I got duped into believing this was punk. So, despite the chances being high that Royal Headache would be something I ultimately wasn’t going to enjoy, I begrudgingly drug myself off the couch and out the door to see what all the hubbub was about anyway. Besides, Condominium was one of the opening acts, and passing up an opportunity to see them would be foolish. ...continue reading entire review right here.
By Nathan G. O'Brien on Scene Point Blank
It was with some intrigue and, admittedly, mostly trepidation that I made my way to the Triple Rock last night to see Sydney, Australia’s Royal Headache. Originally my curiosity had been piqued because Extreme Noise, the beloved local volunteer-run punk rock record store, was sponsoring the event. Rarely do they attach their name to something that isn’t completely worthwhile. Yet, my apprehension levels had skyrocketed right about the time I read Royal Headache’s press release, which stated “They craft tight, irresistible, R&B-inflected punk songs, and hone a universal message of redemption through passion.” Now I understand a thing or two about drumming up interest in a band, especially when paid to do so, so I was not scared off so much by the “universal message of redemption through passion” part. That’s just one of those puzzling strings of words that press release writers craft in hopes that it will give their product some attention. No, what made me cringe was the “R&B-inflected punk songs” part. Other than hip-hop or the increasingly rare musical side of Justin Timberlake, I don’t really get into “R&B-inflected” anything, let alone punk. In the early ‘00s when everyone was in front of the stage shaking their hips to the Bellrays or the Dirtbombs, I was at the bar irritably ordering more drinks, wondering how I got duped into believing this was punk. So, despite the chances being high that Royal Headache would be something I ultimately wasn’t going to enjoy, I begrudgingly drug myself off the couch and out the door to see what all the hubbub was about anyway. Besides, Condominium was one of the opening acts, and passing up an opportunity to see them would be foolish. ...continue reading entire review right here.
6/11/12
HDD Radio #5: Beastie Boys and more
After a lengthy break, HotDogDayz Radio is back! Taking to the airwaves in the middle of the night, this episode pays homage to the late great Adam "MCA" Yauch and the Beastie Boys! Listen as our DJ goes off-topic with relative ease; mispronounces words; talks about all the things he is "obsessed with"; describes records as "really good", "really great", and "really awesome" a whole bunch of times; tries to remember things from his rapidly vanishing youth; repeatedly says the wrong release date for Ill Communication; and then goes off-topic again. Sets include: '80s and '90s rap, '80s and '90s hardcore, and some of the best rap from 2012 so far.
Tracklist:
Beastie Boys - Slow and Low
Ultramagnetic MCs - Give the Drummer Some
Gang Starr - Step in the Arena
Eric B. & Rakim - The R
Main Source - Looking at the Front Door
Beastie Boys - Brass Monkey
Beastie Boys - Tough Guy
DFL - Minus Adam
Void - Organized Sports/Annoyed
Void - Black, Jewish and Poor
Flipper - Living for the Depression
Black Flag - Beat My Head
7 Seconds - Regress, No Way
DFL - Action Everybody
Beastie Boys - Heart Attack Man
Beastie Boys - OK
Killer Mike - GO!
El-P - Full On Retard
I Self Devine - Cycles
Apollo Brown & OC - People's Champ
Beastie Boys - Non Stop Disco Power Pack
Beastie Boys - Dr. Lee PHD.
Thanks for listening! Subscribe in iTunes here.
Tracklist:
Beastie Boys - Slow and Low
Ultramagnetic MCs - Give the Drummer Some
Gang Starr - Step in the Arena
Eric B. & Rakim - The R
Main Source - Looking at the Front Door
Beastie Boys - Brass Monkey
Beastie Boys - Tough Guy
DFL - Minus Adam
Void - Organized Sports/Annoyed
Void - Black, Jewish and Poor
Flipper - Living for the Depression
Black Flag - Beat My Head
7 Seconds - Regress, No Way
DFL - Action Everybody
Beastie Boys - Heart Attack Man
Beastie Boys - OK
Killer Mike - GO!
El-P - Full On Retard
I Self Devine - Cycles
Apollo Brown & OC - People's Champ
Beastie Boys - Non Stop Disco Power Pack
Beastie Boys - Dr. Lee PHD.
Thanks for listening! Subscribe in iTunes here.
6/7/12
6/4/12
Record Review: Martyrdöd-Paranoia
Martyrdöd-Paranoia (Southern Lord)
By Nathan G. O'Brien on Scene Point Blank
Swedish ragers Martyrdöd, along with Acephalix and fellow countrymen Wolfbrigade, are the latest to be chosen in the great Southern Lord crust roundup. Featuring former and current members of Skitsystem, Agrmonia and others, Martyrdöd have been unleashing their brand of blackened everything to the crust-consuming masses for over a decade now. Their latest offering Paranoia was recorded at Göteborg’s famed Studio Fredman, the studio run by producer Fredrik Nordström and recording home to mediocre metal acts Dimmu Borgir, Arch Enemy, the increasingly less-relevant Opeth, and former luminaries like In Flames and Amon Amarth. Not surprising then, the record has a richer-sounding production value than Martyrdöd’s back catalog of stench on smaller labels like Havoc and Plague Bearer. That is not to say that fans of their mid-century masterwork In Extremis, will feel alienated by this; perhaps just a bit startled at first.
The most notable difference is how the guitars come across really clean. There is still the full-on power and blunt straightforwardness indicative of D-beat but it’s been polished up enough that listeners are allowed to hear the multitude of layers created by skilled axemen Pontus Redig and Mikael Kjellman—incorporating, among other things, aspects of punk, hardcore and classic Swedish death metal. In that same regard, the partition of instrumentation lets the rhythm section make its mark on the overall sound as well. Bassist Anton Grönholm and drummer Jens Bäckelin plod and pound their way through a thunderous Dis-laden low end backdrop. While the guitar work hints at it, it’s really the hateful and tortured vitriol of Kjellman’s vocal styling that adds a heavy dose of black metal to the mix. He furiously spews a poisonous snarl that sounds like he’s been gargling with ammonia and bleach—a distinction that longtime fans will recognize and appreciate. It all makes for a very dark and toxic landscape, in which Martyrdöd ascends the lordship.
Crust, and all that it infects—D-beat, grind, doom, etc.—is often times the amalgamating factor that unites metal heads and punk rockers. By that same token, it’s the quality of the production that can create the dividing line where crust becomes either too metal or too punk. Punk is best served by a raw inflammation of unharnessed potential and noise, whereas metal benefits from attention to detail, subtle nuance and skilful craftsmanship…or something. All that being said, what side of the fence this album lands on is a non sequitur because it has all those effects functioning in accordance—it’s metal, it’s punk, and it’s really fucking good. These Swedes are glistening a little more than usual; but far from being fully sanitized. With Paranoia Martyrdöd makes small strides towards large audience exposure, all the while keeping intact venom and unrefined sonic muscle that placed them atop of the indie crust heap years ago. ...Continue reading right about here.
5/29/12
Record Review: Quelle Chris-2Dirt4TV EP
Quelle Chris-2Dirt4TV EP
By Nathan G. O'Brien on Scene Point Blank
Hot off the heels his under-appreciated 2011 debut full-length Shotgun & Sleek Rifle, Detroit MC/producer Quelle Chris drops his latest EP, 2Dirt4TV. This time around Quelle steps from behind the boards, leaving the production to “Legendary underground MySpace producer” Mr. Dibia$e. The result couldn’t be more seamlessly harmonized, as Dibia$e’s laid-back boom-bap balances Quelle’s nonconformist flow in way that recalls the arty weirdness of rappers like Das Racist, fellow Detroiter Danny Brown, Devin the Dude and oddly enough, Native Tongues. ...read all of this awesome review at this jam right here.
By Nathan G. O'Brien on Scene Point Blank
Hot off the heels his under-appreciated 2011 debut full-length Shotgun & Sleek Rifle, Detroit MC/producer Quelle Chris drops his latest EP, 2Dirt4TV. This time around Quelle steps from behind the boards, leaving the production to “Legendary underground MySpace producer” Mr. Dibia$e. The result couldn’t be more seamlessly harmonized, as Dibia$e’s laid-back boom-bap balances Quelle’s nonconformist flow in way that recalls the arty weirdness of rappers like Das Racist, fellow Detroiter Danny Brown, Devin the Dude and oddly enough, Native Tongues. ...read all of this awesome review at this jam right here.
5/26/12
Scene Report: Punk Night at Memory Lanes Block Party
Memory Lanes Block Party, Punk Night, Mpls, MN, 5/25/12
Things got off to an early start on the bigger stage with ska-punkers Rocksteady Breakfast. Yes, you heard that right: in the year 2012 AD, there is still such a thing as ska-punk. And the band is not made up of junior high kids like you'd expect. Yawn. Pretty sweet street-punk looking crew though. Lots of attention to detail when it comes to their, ah, outfits.
Brain Tumors, one of the bands that will be on the HDD All-City First Team of Punk, played next on the tent stage. (They will be #2, 3, 4, or 5, but not #1. That spot belongs to Condominium. We'll be addressing our first and second teams in upcoming posts.) The lead singer Drew is a maniac; a drunken maniac. He comes from the school of thought that hardcore is supposed to be violent and confrontational and he does it really well. He was bleeding from his lip, forehead and arm by the time the first song ended. He actually punched me in my eye at one point. They were as impressive as ever.
Children of Euler were next up on the big stage. They play some technical, prog-ish black metal type of thing. I dig it sorta. Pretty sure I’ve seen them before but I can’t remember where. There was lots of mathematical and scientific kind of chatter between songs. Someone told me they are all really smart math dudes and that the lead singer even teaches math somewhere. I cannot confirm that; it's just something some drunken chick with Addicts, Misfits and Subhumans patches said to me. I'm pretty much over anyone that is still wearing any of those patches when they are legal drinking age. Those patches are for the young'ns who are just getting into punk. Once you can legally buy booze for yourself, you should get into D-beat or crust or something. You’re like, old and shit. Speaking of young'ns wearing patches, I will never get over kids wearing any patches of any punk band ever. That shit is the bomb, and makes me smile and/or tear up every time I see it. What can I say; I'm a sentimental wreck when it comes to this shit.
Back on the small stage was Chicago hardcore ragers Manipulation. Pretty fucking rad, but dude's mic cord wasn't as long as Drew's, so he couldn't be as in-your-face as Brain Tumors was. Not that they didn't give it their best shot though. I dug it for sure. I also started drinking at this point, as I was tired of waiting for Lars the Heathen to get there. I went to take a piss after Manipulation was done, and literally five seconds after I stepped in the honey bucket, a dude started pounding on the door and screaming at me for being in there too long. I finished pissing and waited for him to hit the door again. Then just as he did, I kicked that motherfucker open as hard as I could and nearly broke the dude's hand. He immediately stepped down like, "Ah man, it wasn't me." I'm like, no I'm pretty sure it was you and that’s why your hand hurts now—because you were being an asshole. He walked away. He must not have had to use the bathroom so bad anymore.
Varix played next on the big stage. They were good but that stage was way too big for them, and as result, they sort of lost the crowd. Lars arrived and we started pounding beers in a bad way. Some dude sat on the edge of table that Lars had set his beer. It flipped into the air and all over the Brown Sugar LP that I had just purchased from the Manipulation distro. Dude gave us a look that pretty much said, "I'm not going to apologize for shit." I had to physically stop Lars from pummeling this guy. He wouldn't calm down until I reminded him that he probably doesn't want to go back to jail.
Once again back to the small/tent stage where In Defence did their thing that they always do. I'm fairly certain that anyone that has made it this far knows what In Defence is all about, so I'll spare you the details. I'll just say this: their performance and subsequent crowd reaction was enough to make the guys from Needles, who were watching intently from the side, decide they were going to play on the small stage instead of the ridiculous big one where they were scheduled.
By the time Martin and crew cranked out their first screeching note, the crowd had nearly doubled in size and everyone was seemingly wasted and/or psyched to see Oakland's Needles. And they did not disappoint! As with Martin's previous bands, energetic thrashy hardcore is the name of the game. Big circle pits, empty pizza boxes being tossed about, and stage diving was just a few of the ways in which the audience reacted. One dude even attempted to climb one of the poles that was holding the tent up. Lars disappeared with some woman he knew from Black Label Bicycle Club for awhile. I was pretty sure they were making out and/or snorting blow in the handicap honey bucket. But I was too buzzed and too wrapped up in the chaos to care. Needles is the shit, man.
Inside for the late show, I caught Cognitive Dissonance's set on the bowling lane stage. They pretty much get better every time I see them. And I had just seen them last Sunday opening for Tragedy and I thought they were awesome then. (Cog-Dis, like Brain Tumors is also on the HDD All City First Team. Come to think of it, In Defence might be on there too--they will for sure make Second Team if anything.) On my way out the door I ran into Lars, who confirmed my suspicion. He had been making out AND doing blow in the handicap honey bucket with one of the girls from Black Label. That is until some of the dudes in Black Label got pushy with him and made the girl leave with them. That was probably for the better anyway. I decided to call it a night, as I had some shit to do this morning, already had about seven beers, and little interest in seeing The Arrivals. Plus there was no way I could keep up with a coked-up Lars the Heathen at this point.
On the ride home, I stopped at Cub Foods and bought a Red Barron, which I ate almost all of before passing out on the couch. I never did that shit I was supposed to do this morning and I hate myself for eating like a pig. Not sure how Lars’ night ended, but I’m crossing my fingers that it wasn’t in some sort of police standoff. The end.
Things got off to an early start on the bigger stage with ska-punkers Rocksteady Breakfast. Yes, you heard that right: in the year 2012 AD, there is still such a thing as ska-punk. And the band is not made up of junior high kids like you'd expect. Yawn. Pretty sweet street-punk looking crew though. Lots of attention to detail when it comes to their, ah, outfits.
Brain Tumors, one of the bands that will be on the HDD All-City First Team of Punk, played next on the tent stage. (They will be #2, 3, 4, or 5, but not #1. That spot belongs to Condominium. We'll be addressing our first and second teams in upcoming posts.) The lead singer Drew is a maniac; a drunken maniac. He comes from the school of thought that hardcore is supposed to be violent and confrontational and he does it really well. He was bleeding from his lip, forehead and arm by the time the first song ended. He actually punched me in my eye at one point. They were as impressive as ever.
Children of Euler were next up on the big stage. They play some technical, prog-ish black metal type of thing. I dig it sorta. Pretty sure I’ve seen them before but I can’t remember where. There was lots of mathematical and scientific kind of chatter between songs. Someone told me they are all really smart math dudes and that the lead singer even teaches math somewhere. I cannot confirm that; it's just something some drunken chick with Addicts, Misfits and Subhumans patches said to me. I'm pretty much over anyone that is still wearing any of those patches when they are legal drinking age. Those patches are for the young'ns who are just getting into punk. Once you can legally buy booze for yourself, you should get into D-beat or crust or something. You’re like, old and shit. Speaking of young'ns wearing patches, I will never get over kids wearing any patches of any punk band ever. That shit is the bomb, and makes me smile and/or tear up every time I see it. What can I say; I'm a sentimental wreck when it comes to this shit.
Back on the small stage was Chicago hardcore ragers Manipulation. Pretty fucking rad, but dude's mic cord wasn't as long as Drew's, so he couldn't be as in-your-face as Brain Tumors was. Not that they didn't give it their best shot though. I dug it for sure. I also started drinking at this point, as I was tired of waiting for Lars the Heathen to get there. I went to take a piss after Manipulation was done, and literally five seconds after I stepped in the honey bucket, a dude started pounding on the door and screaming at me for being in there too long. I finished pissing and waited for him to hit the door again. Then just as he did, I kicked that motherfucker open as hard as I could and nearly broke the dude's hand. He immediately stepped down like, "Ah man, it wasn't me." I'm like, no I'm pretty sure it was you and that’s why your hand hurts now—because you were being an asshole. He walked away. He must not have had to use the bathroom so bad anymore.
Varix played next on the big stage. They were good but that stage was way too big for them, and as result, they sort of lost the crowd. Lars arrived and we started pounding beers in a bad way. Some dude sat on the edge of table that Lars had set his beer. It flipped into the air and all over the Brown Sugar LP that I had just purchased from the Manipulation distro. Dude gave us a look that pretty much said, "I'm not going to apologize for shit." I had to physically stop Lars from pummeling this guy. He wouldn't calm down until I reminded him that he probably doesn't want to go back to jail.
Once again back to the small/tent stage where In Defence did their thing that they always do. I'm fairly certain that anyone that has made it this far knows what In Defence is all about, so I'll spare you the details. I'll just say this: their performance and subsequent crowd reaction was enough to make the guys from Needles, who were watching intently from the side, decide they were going to play on the small stage instead of the ridiculous big one where they were scheduled.
By the time Martin and crew cranked out their first screeching note, the crowd had nearly doubled in size and everyone was seemingly wasted and/or psyched to see Oakland's Needles. And they did not disappoint! As with Martin's previous bands, energetic thrashy hardcore is the name of the game. Big circle pits, empty pizza boxes being tossed about, and stage diving was just a few of the ways in which the audience reacted. One dude even attempted to climb one of the poles that was holding the tent up. Lars disappeared with some woman he knew from Black Label Bicycle Club for awhile. I was pretty sure they were making out and/or snorting blow in the handicap honey bucket. But I was too buzzed and too wrapped up in the chaos to care. Needles is the shit, man.
Inside for the late show, I caught Cognitive Dissonance's set on the bowling lane stage. They pretty much get better every time I see them. And I had just seen them last Sunday opening for Tragedy and I thought they were awesome then. (Cog-Dis, like Brain Tumors is also on the HDD All City First Team. Come to think of it, In Defence might be on there too--they will for sure make Second Team if anything.) On my way out the door I ran into Lars, who confirmed my suspicion. He had been making out AND doing blow in the handicap honey bucket with one of the girls from Black Label. That is until some of the dudes in Black Label got pushy with him and made the girl leave with them. That was probably for the better anyway. I decided to call it a night, as I had some shit to do this morning, already had about seven beers, and little interest in seeing The Arrivals. Plus there was no way I could keep up with a coked-up Lars the Heathen at this point.
On the ride home, I stopped at Cub Foods and bought a Red Barron, which I ate almost all of before passing out on the couch. I never did that shit I was supposed to do this morning and I hate myself for eating like a pig. Not sure how Lars’ night ended, but I’m crossing my fingers that it wasn’t in some sort of police standoff. The end.
| Sweetest kids ever in history of punk rock. |
| Manipulation |
| Needles circle pit |
| Needles circle pit2 |
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| Martin Needles |
![]() |
| Needles |
5/21/12
Record Review: Police Bastard/WAR//PLAGUE-Attrition split LP
Police Bastard/WAR//PLAGUE-Attrition split LP (Profane Existence)
By Nathan G. O'Brien on Scene Point Blank
Attrition brings together two punk bands from opposing sides of the Atlantic Ocean—England’s Police Bastard and the United State’s WAR//PLAGUE. Most of the material was recorded at various points in 2009 but not released on vinyl until May of 2011, when Profane Existence Records pressed up a couple thousand slabs of wax to unleash to patched-up masses.
WAR//PLAGUE is from Minneapolis, MN and is made up of veterans of that scene—members having previously played in bands like Pontius Pilate, Provoked and Scorned, among others. It’s hard to pinpoint their sound exactly, as they swim in the coagulated genre scum pond that is modern day crust, but also do a fragment of D-beat the way it was done in the ‘80s and ‘90s—the guitars are lower in the mix but not buried, and the vocals, while gruff, are clear enough that you can understand the lyrics. ...read full-length review at this place.
By Nathan G. O'Brien on Scene Point Blank
Attrition brings together two punk bands from opposing sides of the Atlantic Ocean—England’s Police Bastard and the United State’s WAR//PLAGUE. Most of the material was recorded at various points in 2009 but not released on vinyl until May of 2011, when Profane Existence Records pressed up a couple thousand slabs of wax to unleash to patched-up masses.
WAR//PLAGUE is from Minneapolis, MN and is made up of veterans of that scene—members having previously played in bands like Pontius Pilate, Provoked and Scorned, among others. It’s hard to pinpoint their sound exactly, as they swim in the coagulated genre scum pond that is modern day crust, but also do a fragment of D-beat the way it was done in the ‘80s and ‘90s—the guitars are lower in the mix but not buried, and the vocals, while gruff, are clear enough that you can understand the lyrics. ...read full-length review at this place.
5/14/12
Record Review: Reks-Straight, No Chaser
Reks-Straight, No Chaser (Brick Rec./Showoff Rec.)
By Nathan G. O'Brien on Scene Point Blank
Where Reks’ previous albums have featured beats from a variety of producers—DJ Premier, Pete Rock, Large Professor, Alchemist, Hi-Tek, etc.—Straight, No Chaser’s weakest point comes as a result of the singularity in production. Having saturated the market with an impressive grip of projects with other MCs in the last couple years—Action Bronson, Terminology, Freddie Gibbs, to name a few—it’s not surprising that there are moments here that indicate Statik Selektah may be set on autopilot. The whole thing loses some serious steam about two thirds the ways in. In fact, it’s hard to tell if Statik just took a timeout or hit the wall completely. Being a long-time collaborator with Reks and even the godfather of one of his children, it’s hard to imagine Statik just gathering a bunch of throw-away or rejected beats from some of his other projects for this album, yet it does seem only half-motivated. Lyrically, Reks spans a variety of autobiographical-slanted themes in an honest manner in which the title implies. Straight, No Chaser is a personal reflection on a number topics such as political upheaval and empowerment, Capital Vices, divorce, and living with regret. On “Parenthood”—wherein the message is simple: “be a parent in the hood”—he goes at fathers who are continuing the succession of leading their sons into street life: “A boy needs a father to lean on/If he gone, the cycle gonna repeat/Just keepin’ On.” In short, despite some lackluster production, this is Reks most grown-up and progressive outing to date. ...read full review right about here.
By Nathan G. O'Brien on Scene Point Blank
Where Reks’ previous albums have featured beats from a variety of producers—DJ Premier, Pete Rock, Large Professor, Alchemist, Hi-Tek, etc.—Straight, No Chaser’s weakest point comes as a result of the singularity in production. Having saturated the market with an impressive grip of projects with other MCs in the last couple years—Action Bronson, Terminology, Freddie Gibbs, to name a few—it’s not surprising that there are moments here that indicate Statik Selektah may be set on autopilot. The whole thing loses some serious steam about two thirds the ways in. In fact, it’s hard to tell if Statik just took a timeout or hit the wall completely. Being a long-time collaborator with Reks and even the godfather of one of his children, it’s hard to imagine Statik just gathering a bunch of throw-away or rejected beats from some of his other projects for this album, yet it does seem only half-motivated. Lyrically, Reks spans a variety of autobiographical-slanted themes in an honest manner in which the title implies. Straight, No Chaser is a personal reflection on a number topics such as political upheaval and empowerment, Capital Vices, divorce, and living with regret. On “Parenthood”—wherein the message is simple: “be a parent in the hood”—he goes at fathers who are continuing the succession of leading their sons into street life: “A boy needs a father to lean on/If he gone, the cycle gonna repeat/Just keepin’ On.” In short, despite some lackluster production, this is Reks most grown-up and progressive outing to date. ...read full review right about here.
5/12/12
One Minute Reviews: Sharkpact-Ditches and Total Control-Henge Beat
One Minute Reviews
By Nathan G. O'Brien exclusively for HotDogDayz
Sharkpact-Ditches (Rumbletown), Total Control-Henge Beat (Iron Lung)
As long as I've been reading it (not going to date myself here) and as much as I am 100% supportive of what they do, I sometimes find myself shaking my head at the ridiculous collective entity that is Maximum Rock-n-Roll Magazine. The slightly annoying things like not having a healthy sense of humor and/or irony and offering blatant contradictions from month to month are a given, but you just sort of ignore that stuff because it matters little in the grand scheme. What I find comical is how after years of shoving various sub-genres down our throats, they turn on a dime and all but denounce said trends for something "totally new," and often times, well, not very punk. (Yes, I do realize that the most un-winnable argument in the history of the universe is what-is-and-what-is-not-punk, and I do not care to get into it now...or ever for that matter.) Such is the case with Sharkpact and Total Control. Suddenly all the hardcore, raw punk, noise-not-music, D-beat, and garage we've been told was "crucial" is considered "played out", and we should be listening to bands that are doing something "wholly unprecedented" like Total Control and Sharkpact. Well, Total Control sounds like Crocodiles and Sharkpact sounds like Matt & Kim...or a less punk Japanther. So, there you go. My minute is almost up, so I'll make this quick: the Total Control album is actually really excellent, whereas Sharkpact is, like Matt & Kim, pretty annoying. But you don't necessarily have to take my word for it--if you're capable of forming your own opinion, and I know you are, there are plenty of really punk things like Spotify or iTunes where you can sample them yourself. The end.
By Nathan G. O'Brien exclusively for HotDogDayz
Sharkpact-Ditches (Rumbletown), Total Control-Henge Beat (Iron Lung)
As long as I've been reading it (not going to date myself here) and as much as I am 100% supportive of what they do, I sometimes find myself shaking my head at the ridiculous collective entity that is Maximum Rock-n-Roll Magazine. The slightly annoying things like not having a healthy sense of humor and/or irony and offering blatant contradictions from month to month are a given, but you just sort of ignore that stuff because it matters little in the grand scheme. What I find comical is how after years of shoving various sub-genres down our throats, they turn on a dime and all but denounce said trends for something "totally new," and often times, well, not very punk. (Yes, I do realize that the most un-winnable argument in the history of the universe is what-is-and-what-is-not-punk, and I do not care to get into it now...or ever for that matter.) Such is the case with Sharkpact and Total Control. Suddenly all the hardcore, raw punk, noise-not-music, D-beat, and garage we've been told was "crucial" is considered "played out", and we should be listening to bands that are doing something "wholly unprecedented" like Total Control and Sharkpact. Well, Total Control sounds like Crocodiles and Sharkpact sounds like Matt & Kim...or a less punk Japanther. So, there you go. My minute is almost up, so I'll make this quick: the Total Control album is actually really excellent, whereas Sharkpact is, like Matt & Kim, pretty annoying. But you don't necessarily have to take my word for it--if you're capable of forming your own opinion, and I know you are, there are plenty of really punk things like Spotify or iTunes where you can sample them yourself. The end.
5/7/12
Record Review: Anatomi 71-Från Primat till Reptil
Anatomi 71-Från Primat till Reptil (Power It Up)
By Nathan G. O'Brien on Scene Point Blank
This is a heavy slab of melting Scandi-core. Anatomi-71 has always been good at making pertinent songs fairly free of cliché, all the while prevailing within’ a genre that’s relevance stretches a bit thinner with each notch in the collective bullet belt. Från Primat till Reptil shows the four-piece simultaneously picking old scabs and generating new wounds—this is a very rock-n-roll infused brand of stench. I find it incredibly alluring, despite my usual disinterest in this sort of cleaned-up D-beat. ...Read entire review after the cliff jump.
By Nathan G. O'Brien on Scene Point Blank
This is a heavy slab of melting Scandi-core. Anatomi-71 has always been good at making pertinent songs fairly free of cliché, all the while prevailing within’ a genre that’s relevance stretches a bit thinner with each notch in the collective bullet belt. Från Primat till Reptil shows the four-piece simultaneously picking old scabs and generating new wounds—this is a very rock-n-roll infused brand of stench. I find it incredibly alluring, despite my usual disinterest in this sort of cleaned-up D-beat. ...Read entire review after the cliff jump.
5/6/12
5/5/12
5/4/12
In Memoriam: MCA
A large gigantic portion of the groundwork upon which I live my life was
laid forth by three kids whom I never met, yet it felt like they were my best friends. One of them passed away today. And with him, a little bit of everything. It's the saddest of dayz. "I cuss and I grab my nuts. Got a six-fingered ring that says 'Excuse Our Dust.'"--Adam MCA Yauch.
-Nathan G. O'Brien
-Nathan G. O'Brien
5/2/12
5/1/12
Record Review: Mean Jeans-On Mars
Mean Jeans-On Mars (Dirtnap)
By Nathan G. O'Brien on Scene Point Blank
Much in the way Teenage Bottlerocket appropriated the early to mid-‘90s Lookout bands like Screeching Weasel and the Groovie Ghoulies, which were puréeing the Ramones, Beach Boys and macabre cinema, you can’t really credit Portland, OR’s Mean Jeans for bringing anything new to the pop punk landscape whatsoever. In fact, you’d be hard pressed to find a single ounce of originality anywhere on this record. And oddly enough, it’s just that redolent familiarity that makes it so goddamn gratifying. As much as it may bruise my crust-craving ego to admit, I find On Mars to be overwhelmingly adorable. This is punk rock for skater kids, alternateens, and hopeless romantics raised on frozen pizza and gas station nachos, just as much as it for those fending off adulthood; still lurking around the dim corners of fringe society in worn out Chucks and pinned-up hoodies, swilling tall boys of whatever the cheap beer of the moment is, and hipping “the kids” to the days when Danny Panic, B-Face and Danny Vapid were in The Queers instead of, well, whoever is now. ...continue reading after the jizzy.
By Nathan G. O'Brien on Scene Point Blank
Much in the way Teenage Bottlerocket appropriated the early to mid-‘90s Lookout bands like Screeching Weasel and the Groovie Ghoulies, which were puréeing the Ramones, Beach Boys and macabre cinema, you can’t really credit Portland, OR’s Mean Jeans for bringing anything new to the pop punk landscape whatsoever. In fact, you’d be hard pressed to find a single ounce of originality anywhere on this record. And oddly enough, it’s just that redolent familiarity that makes it so goddamn gratifying. As much as it may bruise my crust-craving ego to admit, I find On Mars to be overwhelmingly adorable. This is punk rock for skater kids, alternateens, and hopeless romantics raised on frozen pizza and gas station nachos, just as much as it for those fending off adulthood; still lurking around the dim corners of fringe society in worn out Chucks and pinned-up hoodies, swilling tall boys of whatever the cheap beer of the moment is, and hipping “the kids” to the days when Danny Panic, B-Face and Danny Vapid were in The Queers instead of, well, whoever is now. ...continue reading after the jizzy.
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