Reviews

Dirt Cult

An Uneasy Peace Speaking in Tongues EP

I’ve heard whispers about this project, and was very excited to let it sink into my ears. A recording project featuring Lance Hahn (J CHURCH) and Stan Wright (SIGNAL LOST, DEATHREAT, ARCTIC FLOWERS), Dave Wuttke (DRUNKEN BOAT, LIVING UNDER LIES) and Mike Warm (DEFECT DEFECT, OBSERVERS), this was a collection of hardcore songs that Lance wrote, songs that presumably didn’t fit his vision for J CHURCH. The man was a master, a punk historian, aficionado and mostly a fan, and I can only imagine that the other players were more than happy to help him realize his vision. It’s great. It’s like Lance from J CHURCH writing hardcore songs. “Fighting Sleep” is the choicest cut, harnessing a TALK IS POISON-esque energy right from the opening breakdown, but ultimately AN UNEASY PEACE is 80s USHC steeped in anarcho-punk and 90s DIY…which is exactly what it sounds like.

Barricade Apocalypse Joyride LP

Heavy-metal-infused D-beaters BARRICADE deliver a relentless beating of raw energy, staying true to the genre’s roots. Their thunderous drumming, ripping guitars, and vehement vocals create a sonic onslaught that captures the essence of D-beat. Members of FUGITIVE, ANS, and GUERRA FINAL, to name a few. Fans of fast-paced, aggressive soundscapes will find BARRICADE both nostalgic and invigorating.

Bothers II LP

Second full-length from Portland’s BOTHERS. Very interesting record, as it tends to meld certain punk styles that typically contrast. While a majority of the record has an early HOT WATER MUSIC/LEATHERFACE vibe, you can also hear a little bit of LAUGHING HYENAS-era John Brannon in the vocals. Songs swap between brutal, straightforward power chords to soaring harmonies. Catchy as all hell at parts. The bass is the unsung hero of this album, putting in work throughout. I wish it was a little louder in the mix so it could act as a stronger driver. For fans of No Idea Records and other melodic hardcore from the ’90s.

Bothers Bothers LP

I know this record is billed as a garage-y, WIPERS-doing-hardcore release, but to me there’s something Oi! about it. I think it’s the rock’n’roll style chord progressions with heavy distortion (there’s even a little MOTÖRHEAD-style lick in “Brain Matter”). I would say it’s like ANTI-NOWHERE LEAGUE with John Reis (DRIVE LIKE JEHU, ROCKET FROM THE CRYPT, a bunch of other stuff) on guitar. The lyrics read like a bad acid trip: introspective in a dark, twisted kind of way. Some standout lines include “Infant feeding from the arms of the gutter,” “My brain’s ain’t straight / I can hear it bleed,” and “Disappeared in a fistful of wet brain matter and glue.” I’m also a sucker for a good, catchy chorus, and “No Trust” has one of the best I’ve heard all year.

Columna Las Cosas Que Perdemos LP

Spanish punks offer a fresh take on post-punk (minus the flanger) that is heavily based on pop, but never really dredges too deep into either side of the divide. Devoid of any tinges of goth and cleanly recorded, COLUMNA have a continuum of bangers that keeps Las Cosas Que Perdemos churning, and upbeat. RATA NEGRA with a tinge of ÖTZI but perhaps more polished.

Cut Piece Accept Defeat (Don’t Sabotage Me) EP

The first release by PDX city punkers CUT PIECE is a four-track vicious punk attack with a sense of urgency. Sonically, it’s somewhere along the melodic side of UK82 punk, like CHRON GEN or VICE SQUAD instead of DISCHARGE or the EXPLOITED, yet each track has its own unique musical approach. Instead of relying on naive teenage angst, there’s more complex expressions of anger and frustration. Minimal yet complex post-punk-like guitar licks tangle through the aggressive drive of drums and bass with a catchy, almost sing-along shouting vocal style.

Daydream Mystic Operative LP

Blink and you’ll miss this blur of controlled chaos from Portland’s DAYDREAM. There’s a lot going on, but the hyper-propulsive drums, DEVO-lved guitar stabs, and urgent vocals clatter together in an explosive concoction of progressive punk noise. Thick-necked, spiraling bass riffage and off-kilter weirdness remind me of (a less brooding) DEAD AND GONE, or an anarcho-BOREDOMS. Get your ’90s fix without succumbing to nostalgia. Great stuff.

De Rodillas Implacable EP

Five hard-charging hardcore tunes, coming to you from the punkest city in the USA: Pittsburgh, Pennsylvania. DE RODILLAS dispense with the pleasantries and set directly into the bone-breaking and ear-splitting. I got to catch their citymates PEACE TALKS recently, and this is cooking with a similar spice, which is to say that the heat is cranked way up. These tracks are nearly combustible, ramping up the tension from one song to the next until the closing cut “Quiero Ser Buena,” which slows things down a touch and introduces some melody to the vocal delivery. There’s not a lot of window-dressing or ornamentation on this EP. It’s lean and to-the-point, with a strong undercurrent of UK82 nastiness. Four-chord, pogo-worthy, pissed-off punk. What more do ya really need?

Dead Years Night Thoughts LP

There seems to be no shortage of coldwave/post-punk/deathrock bands at the moment, and frankly, I love it. Go ahead and add Germany’s DEAD YEARS to the list. On Night Thoughts, they play a cool brand of post-punk, sometimes reminding me of a more propulsive HOME FRONT and sometimes reminding me of an Oi! band minus the saxophones and tough-guy gang vocals. Speaking of, the dual vocals are a nice touch and add some depth and nuance to the proceedings. I will say, the record is a little long for my taste, and some of the tunes do blend together about halfway through. This is no dealbreaker; in fact, it’s probably just my social-media-addled attention span that’s the problem. Anyways, the songwriting is solid, and on tracks like “Into the Dark” and “Mind Circle,” DEAD YEARS really take off.

Dead Years Dead Years LP

There’s something about this band that reminds me of a lot of different bands, but the weird thing is that none of the bands that they remind me of play the same style—that makes me super curious about them. They really make me wanna be on a roadtrip listening to them with my friends. I really liked this album, ‘cause every song leaves you with a different feeling, and I also think the vocals bring something really special to the songs.

Dots Dots LP

Cool yet wild spasm sound that is somewhere between NOTS and certain eras of RAKTA?! Though maybe DOTS are more sorta art punks unable to hide their BLACK FLAG roots… Vicious sounds! Wild looping collapsing rhythm sectional idea explosions! Theramin! GINN-ish guitars! Spaced-out vocal incantations c/o the punkest Camylle (also of MIDNITE SNAXXX and prob a million other groups?!). Doomed Bay Area sounds that will make you wanna dance and fuck shit up.

Era Bleak Era Bleak LP

What a great fucking name for a band right now. This is Candy and Justin from the TRIGGERS, SLEEPWALKERS R.I.P., and DARK/LIGHT so you know you’re getting a quality product. This release is more on the punky side as opposed to some of the gothier post-punk of some of their previous bands, and it rips. A really nice balance of classic Dangerhouse-style slam and pogo and bit of SADO NATION combined with that classic “only in the Northwest” WIPERS-like dreariness. Zach from PISS TEST does some serious Sage channelling on songs like “Struggle” and pretty much rages throughout this record. The lyrics are brilliant—bleak and optimistic at the same time, if that even makes any sense. Just listen and sing along to some of my favorites here, like their theme song “Era Bleak, “MRI” and “Opinions,” and you’ll get a nice “we’re all gonna die but it’s kinda fun” vibe that’s pretty swell. Not a stinker here, and as we brace for the coming military state and poisoned planet, we now have a nice soundtrack as we sift through the rubble. Now go vote.

Exedo The Body Remembers LP

Debut LP from Chicago-based EXEDO, comprised of Milo Mendoza on bass, Vince Miller on drums, Christine Wolf on vocals/keys/guitar, and David Wolf on guitar. The Wolfs put out quite a few records as DAYLIGHT ROBBERY, but have reformed here with a slightly more synth-forward version of their soaring female-vocal post-punk. The Body Remembers features icy, reverb-heavy guitar lines on top of chunky, palm-muted verses with a synth flowing lithely in the undercurrent. None of the songs are under two minutes, most averaging around the three-and-a-half-minute mark, leaving plenty of time for lyrically questioning the “exedo” (Latin for eat up, devour, consume, etc.) of mankind with songs like “Victims of Convenience,” reflecting with hollow wails and shouts over bass-and-drums turbulence. While the mood is dark and sweeping, the beat is uptempo and just poppy enough to give balance to the melancholic vocals. All four songs from their 2020 demo made the cut here, and it’s good as always to see a band that made it through the pandemic years! Great debut, would highly recommend it for fans of SIOUXSIE AND THE BANSHEES.

Fleshies Introducing The Fleshies LP

Yes yes yes! I think you should know that, although I am indeed a huge FLESHIES fan, I came pretty damn late to the party, and I don’t have a proper excuse. Their trademarked loud’n’ugly noise, ramming headfirst and at lightspeed into downright lovely anthemic ballads and a penchant for DEVO-esque quirk and spazz is right up my alley. Now don’t get me wrong, this is a great album, but a lot of the precious goof is missing. The sweet, tender quirk-and-jerk just aren’t in full force. I could chalk this up to a bad mix, as not only the drums, but also John’s absolutely killer strained rat vocals are buried pretty damn deep in the mix, or maybe they are just embracing their darker, tougher exterior in these trying times. But all in all, this is an entirely rad slab; I just found myself seriously missing those fucked up tics that sets this stellar band apart from nearly every other loud-ass rock band on the planet.

Hood Rats Crime, Hysteria & Useless Information LP

Hardcore out of Montreal with a cowpunk twang. No shit. Catchy as hell with an attitude that matches. Reminiscent of the golden era of GG ALLIN, but much faster with a much better lead guitarist. Fantastic stuff here, and well worth a spin. I’ve played through this like five times in one sitting.

Inject the Light The Apocalypse is Boring cassette

Well, it sure is fun and somewhat uncomfortable when you get assigned your friends to review. Some might even say it’s funcomfortable. This is Chris Mason, head of Portland’s killer label Dirt Cult, as well as the bands LOW CULTURE and MACHO BOYS, performing five quarantine songs he wrote and recorded in one night. When you have such extensive experience penning awesome songs, I imagine it’s not too hard to crank out tunes about the nightmare year we’ve all been living through. But then he goes and makes them really good on top of it. Recommended listening for when the world we’re trapped in becomes too much to deal with.

Jenny Trajinero / Kids of Today 7″

A nifty single of power pop that’s truly powerful. Justin Maurer, whom I mostly know from Oakland’s CLOROX GIRLS, understands how to get the most bang for a buck when playing jangling guitar pop. In true contrarian fashion, the B-side here is what really grabs me. “Kids of Today” runs the gamut of pleasure, from great use of discordance and resolution in the main lick to the palm-muted chug and ringing out triumph back-and-forth that makes up the meat of the track. It’s anthemic in a way that actually pays off its title. The single is great too, with luscious keys and a head-bobbing swing that puts a smile on your face. What’s not to like here?

Kira Jari Spooky Freaky EP

Not every great band is from Denton, TX, yet every band from Denton that I’ve heard is great. There must be something in the rock’n’roll water out there. KIRA JARI just popped onto my radar with this collection of four searingly quick punk songs. As a four-piece, they’re able to let some of the guitar melodies breathe while either layering some sweet solos or strong rhythm parts over the top. The song “Seasick” sounds so much like something I’ve heard before but just can’t place, and a lot of that musical amnesia comes from the fact that they switch things up so much in the span of just over two minutes. Like there’s some weirdness of the MINNEAPOLIS URANIUM CLUB, mixed with sharp leads Á  la MARKED MEN (sorry, couldn’t help but think of the kings of Denton, but also Jeff Burke recorded this), and a lot of the scrappiness you’d find in BENT OUTTA SHAPE. And I’m probably gonna get a few raised eyebrows on this one, but I hear some SHEER MAG, if nothing besides the effects on their vocal harmonies. Just like you can always trust bands from Denton, Dirt Cult delivers another awesome release from a band I might not have otherwise heard about.

Modern Cynics Auditory Postcards cassette

MODERN CYNICS’ grimy econo-pop sound is damn near perfect on this eighteen-track tape. On average, the songs clock in tight and tidy—usually around a minute and a half (sometimes under 60 seconds)—showing off songwriter Matty Grace’s chops for penning overdriven tunes that are full of muscle and melody. The whole affair washes over you, and is honestly best consumed in one go rather than shuffling through cuts. What stands out here is the blend of breezy disaffected execution, mainly in Grace’s vocal delivery, with a perfect dose of urgency and punch. Some of these tracks truly rip, while others are ideal mope anthems. It’s got it all, a tape to keep in the deck for weeks at a time.

More Kicks More Kicks LP

This three-piece from London delivers some solid power pop with a bubblegum sheen. You get a very polished and clean recording all the way through, which can feel a little clinical, but there’s a fair amount of fuzz here, as well as occasional vocal distortion. The bass comes through really strong, almost too heavily in the mix. Overall, I think the tracks are well-balanced and inspire singalongs on the first spin. Guitar is piercingly clear, though not as gritty as I’d like it to be. They sound like mod revival and more on the ’60s garage end of the power pop equation. Typically I’m into stuff with faster riffs when it comes to this genre, but I like it just fine. Though it’s not credited on the the liner notes, it sounds like there are keys on the track “She’s a Reaction,” and it’s a nice melody to fit in. My favorite song is “I’m on the Brink,” though I still do wish it was just a smidge faster. Cool band, good way to start off sunny days.

Needles//Pins Needles//Pins LP

There is a lot going on here. To say this is just a punk record is doing a disservice to all those involved here, but to say this is a rock record isn’t a fair assessment either. Melodic and catchy are words that I’d freely use to describe this, and while there are hooks abound here, it’s got just enough grit to keep it honest. If this record isn’t in heavy rotation on rock stations across their native Canada, that’s a crime. Truly.

Neighborhood Brats Confines of Life LP

Their first album since Claw Marks (one of the best albums in 2018) came out finds the band only getting more diverse in sound and higher in impact and energy. George Rager’s guitar and Jenny Angelillo’s voice are a brutal one-two punch through twelve tracks that will get a pit circling while covering topics of capitalism and housing, misogyny and sexism, commercialism and labeling. I’ve heard they are an insanely intense live show and I’m hoping they get to play some venues stateside soon.

Pandemix Love is Obliteration LP

For me, the all-angle, multi-vocal barrage is what keeps me listening to the latest release by PANDEMIX. With punk-as-fuck lyrics coming from every direction while the band smashes forward, it’s difficult to quit. “Pigs At the Trough” and “Scorched Earth Policy” are absolute bomb blasts of hardcore punk that’ll get you head-bobbing in swift order. A little more refined than previous releases, both in production and musicianship, Love is Obliteration still retains a healthy amount of hiss and noise.

Pandemix In Condemnation LP

Blending perfect amounts of artsy peace-punk weirdness and brutal aggression, Boston’s PANDEMIX deliver a sound that is all at once angry, transgressive, fun, and exciting. This record reminds me why I love punk: it’s got some real out-of-the-box peace-punk moments, dissonant chord combos, irresistible melodic hooks, dark creepy riffs, and fast hardcore parts. The track “Synthetix” juxtaposes full-blast hardcore riffs with a punchy, CRASS-like mid-tempo interlude, while “Column of Light” is a slow and scathing screed, with just vocals and guitar. Pretty much something for everyone. Seriously, do not miss out on this!

Postage Postage LP

Gruff, melodic, catchy pop punk with an edge. The kind that appeals to the “Fest crowd,” no doubt. Their song “80-85” is a surefire anthem. Limited to 300 copies, and I’m sure the packaging will annoy more than a few people, but it’s a good sing-along record and that should make up for the less-than-conventional packaging.

Postage LP2 LP

I enjoy this record more than their previous LP, which I also liked. This one has much more of a raw, dirty, and desperate sound than the last one, which I find much more to my liking personally. Sonically, it’s somewhat reminiscent of Plan-It-X stuff, if those bands used electricity and turned up the volume and distortion. I’m not sure what they did differently this time around, but keep it up!

Primitive Teeth Bubble of Me EP

Wow! PRIMITIVE TEETH appears to be staffed by a gaggle of Chicago DIY scene vets, and they clearly know what they’re up to. Out of the gate, the first song sets the tone with propulsive bass and off-kilter drums driving their anthemic, atmospheric post-punk. The band sits somewhere at the intersection of SIOUXSIE & THE BANSHEES, SLANT 6, and SAVAGES. There are only four songs on this 7″ but it still manages to feel epic; destined for bigger things, methinks.

Rough Kids The Black and White and Gray LP

Admittedly, on first listen I thought maybe this was nothing special. With my often jaded snob glasses on, I was probably thinking something corny like “well it’s not that rough, is it?” But this is goddamn good. Melody in punk is a tough gig, but this Los Angeles group has perfectly hit that intersection of late ’70s energy and an ear for tunefulness that is immensely satisfying. Making harmonies sound tough is no easy feat, and most punks can’t pull it off so they don’t even try. I’m hard pressed to think of a stronger display of just down-to-basics songwriting in recent years, and it doesn’t let up track to track. Dig into “She’s All Gray,” which hits like GENTLEMAN JESSE fronting DEAD BOYS, and tell me you’re not hooked. I definitely am.

Schedule 1 Schedule 1 12″

SCHEDULE 1 formed right before pandemic lockdowns, and managed to put out this debut LP in the interim. There seems to be some Vancouver, BC new-wave-that-leans-towards-emo melodic “thing” happening, and this certainly shakes that tree. Think of the KILLERS mashed up with NEW ORDER. For me it’s a little too whiny, shiny, and overproduced. All said, it’s a tight album, and SCHEDULE 1 makes some catchy dance beats.

Slitasje Måndag Morgon LP

It’s pop, it’s punk, but it’s not pop punk. There’s definitely big, chunky power chords and plenty of melody. The rhythms bounce as much as they blast. There’s also a ton of lead guitar relative to most punk. The band’s sound is a well-oiled machine, and they occasionally deviate from a rigid punk format to slow down or spotlight only an instrument or two. The vocals are right up front, a choice usually reserved for those doing a bit more singing and a little less screaming, but here they command attention without choosing one over the other.

Suspect Parts You Know I Can’t Say No EP

There are two bands that come to mind as I listen through this one: LET’S ACTIVE and the YUM YUMS. That’s high praise. This is well done power pop that is catchy as all hell. It’s mid-tempo and extremely well done. The third and final cut—sung in German—even reminds me a bit of DIE TOTENHOSEN. This is worth looking for.

The Dumpies Gay Boredom LP

The DUMPIES’ Gay Boredom is a raw, energetic garage punk album that moves back and forth between mid-tempo melodic pop and fast, chaotic bursts of sound. Formed in Austin, Texas in 2017 and now based in Astoria, Oregon, this five-piece blasts out nineteen tracks in just over nineteen minutes, keeping things short and punchy. Produced by music legend Tim Kerr, the album sounds cohesive while covering a range of styles, with the title track’s vocals serving a Richard Butler (the PSYCHEDELIC FURS) vibe while “Ol’ Pal” has a chaotic, FAT DAY-like energy. The double-time cover of YOUNGER LOVERS’ “Ballad of Two Stubborn Men” is a tasty standout. I enjoyed the shit out of this album.

The Roxies Don’t Wanna Dance Because I’m Told To LP

This is definitely a nod to the melodic punk bands of the late ’70s. The singer sounds vaguely familiar, but I think that is due to his style of delivery more than anything else. While the band is from Berlin, one of the greatest cities in the world, the singer is from Yorkshire, England. It doesn’t sound like it’s from 1977, but it’s definitely got that vibe. It’s mid-tempo and very catchy and melodic. That said, when it gets a little softer, it reminds me a bit of the CHILLS, high praise. This is nicely done and I’m a fan of the sound, so it’s right up my alley.

The Yearners 2020 EP cassette

Three-song cassette on Dirt Cult Records. Very much what you would expect from the label—incredibly catchy indie-leaning pop punk, exactly what I thought I was getting. Only three songs? What a tease! It seems the band members live far apart from one another, but hopefully they get together again soon and crank out more songs ’cause this is really poppy and fun and I’ve already listened to it three times in a row.

Watermelon Watermelon LP

I love rooting for an underdog. So, despite a handful of red flags—bad record cover, self-described RAMONES-core, cringe-ass song titles like “Gimme Ritalin”—I was really determined to like this record. I mean, sure, this cover kinda sucks, but, at least the color combination is nice. And RAMONES-core unfairly gets a bad rap. The RAMONES are one of the best bands ever, why not sound like them? And, yeah, the song title thing is gonna be tough to get over, but these tracks could still be good! Unfortunately, underdogs tend to have trouble winning. WATERMELON, a three-piece out of Chicago, packs plenty of amateurish charm into the twelve tracks on this LP. The problem is that you can only coast so far on charm. This particular genre requires you to write some catchy tunes, and this act can’t quite muster that. The vocals are a big part of the problem for me. Not only are they tuneless and multi-tracked with just enough dissonance to let off a really unpleasant trill at times, they’re also really buried in the mix. I know that kinda sounds like a “this food is terrible…and it comes in such small portions” type of complaint, but it just sounds bad and wrong. I wish these folks the best of luck, as I did really like the cut of their jib, but I will not be will not be going back for another slice of this one.

Weird Numbers Minotaur Dreams EP

If you are familiar with L.A.’s power pop punk band MANIAC, then you will instantly recognize Zache Davis’s fuzzed and angular vocals. He has such a signature sound I don’t think he could (or should) ever shake it. “Dolphin Encounters,” “Minotaur Dreams,” and “Switching the Code” all are heavy on power pop downstroke, with well-crafted hooks and earworm melodies that give their melodic pop punk a fuller and more complex sound. My favorite on this EP is “Obsolete Man,” which is the sweetest of the bunch, with full weaving angular melodies and just a damn good pop song. WEIRD NUMBERS is a modern twist on retro power pop, and it’s solid. This particular arrangement of Zache Davis (MANIC, GIRLS), Colin Griffiths (GIRLS), and Ethan Jocobsen (TOURIST) is a Seattle outfit. However with Zache’s roots in L.A., I have a feeling that they’ll be cruising up and down the West Coast soon.

X Aspirations LP reissue

Out of press for the last decade, Dirt Cult and Green Noise have collaborated to reissue an absolute mammoth of ’70s punk, the debut album by X. This is desert island, “grab it off the shelf in a house fire” kinda shit right here. One hates to see terms like “classic” bandied about, but this is the rare instance in which the label truly applies. Story goes that these tunes were committed to tape in a nascent five-hour recording session, meant for the purpose of cutting a single. Fourteen blistering tracks later, we have one of the seminal documents of first-wave Australian punk. Aspirations goes harder than 90 percent of what passes for punk these days, and at half the tempo. Unbridled, raw, and absolutely savage, this bass-driven masterpiece laid a blueprint for many bands to follow. “Good On Ya Baby,” “Suck Suck Suck,” and “Delinquent Cars” are untouchable anthems that feature some of the most memorable vocal hooks to have ever wormed into my undeserving earholes. Wildly unhinged guitars being unsanctimoniously tortured dapple the bruising soundscape created by the rhythm section. It really doesn’t get much better than this. If you’re not familiar with the band or this record, stop reading and make that change. This is a heavyweight slab of pure punk perfection.

X Hate City EP

Hate City is a collection of previously unheard material from ’77-era X (not that X).  This is the band that Ian Rilen was in; he’s the guy that briefly played bass in ROSE TATTOO for a bit, having written one of the band’s earliest songs, “Bad Boy For Love.” Aside from X’s Aspirations LP, Hate City seems to be all from this period that is out there for these cats, and it’s near perfect in its sleaze and swagger. In another world, they could have been a drunker DEAD BOYS, who wouldn’t take themselves seriously and light a fart on fire for giggles. Kind of a cousin to PETER AND TEST TUBE BABIES? I don’t know…this is a limited run that Green Noise/Dirt Cult put out, buy one for your neighbor.