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WYMYNS PRYSYN

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 17:16:57 PST

The rhythms here don't get faster than mid-tempo, and even then there's a sludgy quality to ‘em. Reverb-saturated vocals and a generally overdriven production round out a sound that's dark and violent without resorting to typical hardcore tropes.

WSZY

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 17:15:02 PST

I am not sure I've come across a CD that has ever left me more befuddled. Apparently, WSZY hails from Poland and appears to have been active from 2001 until 2006. I use these terms loosely, as every bit of text on the CD packaging and any mention I could find on the interwebs was indecipherable to these western eyes, as were all of their song titles and lyrics. What I can tell you about WSZY is they have a very Welcome to 1984 sound, if you are familiar with that classic compilation. Other than not being able to relate at all to the lyrical content of the disc due to the language barrier, the music left me a little cold as well. In more than a few places, the band made an unfortunate choice in including a dub-reggae breakdown to the proceedings, which really just took away from what would have been a passable eastern-European hardcore release. To be fair, I'm personally not the biggest fan of dub and reggae even when it's done competently, so I fear that I was at a real disadvantage with this release. If mid-eighties eastern bloc hardcore is your bag though, this disc may well be worth seeking out.

WORSHIP THIS!

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 17:13:22 PST

If you like Red City Radio, Nothington, or Iron Chic, then this is right up your alley. Gruff-voiced pop punk with tight musicianship and post-pop punk song writing. You know what you're getting here, if nothing else.

WORRIERS

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 17:11:04 PST

For the most part, Past Lives hits the ground running, though I think the songs could stand to be a little more immediate. A little more gripping. Made up of some folks from bands such as Night Birds and the Measure, these three songs toe the line between shuddering melodies and a delicacy that rarely made or makes appearances in their other bands. And while it may just be me, Lauren Denitzio's lyrics seem more confident here, or at least less obtuse, making them possibly the strongest element to this record. The closer, “Deconstruction Site,” carries the lightest touch of the three, and is probably my personal favorite. Good songs, if not always terribly engaging. I like this record just fine, but I'm also looking forward to hearing more from them.

WE THE DROWNED

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 17:09:15 PST

Poppy U.K. punk with a very early ‘90s bent to it and a considerable amount of sophistication in the songs' structures. There's also a bit of a dark, moody edge to it, making it more akin to Jawbreaker than another in the endless parade of Queers/Screeching Weasel xeroxed clones.

VARUKERS, THE

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 17:07:47 PST

I've never actually owned a Varukers record; an English pen-pal once put some songs of theirs on a comp tape he made for me in 1982, but that's as Varukery as i get. I've always liked that song “Destroy The Youth” ((which ain't on here)), but, as a non-owner of any portion of the Varukers primary canon, i feel about as qualified to provide valid insight on this “rare and unreleased” suite of Exploited-singing-Discharge tunes as my little cousin would have been to write an in-depth review on the Beatles' career after dancing around all Christmas to her first Beatles album, which was one of those weird ‘90s rare/unreleased compilation things, and thus, presumably, so far afield from a legitimate jumping-on point as to render her enthusiasm somewhat silly. Plus she danced weird. I can say with some authority that these guys were among the faster U.K. punk bands in the early 80's, so, y'know, there's that... but, to be brutally frank, i really just came to hear “Destroy The Youth” and go home, so what the fuck am i still doing here? BEST SONG: Well, “Destroy The Youth,” if it was on here. BEST SONG TITLE: “Varuker.” I applaud their thematic unity. FANTASTIC AMAZING TRIVIA FACT: If you listen carefully to the live tracks at the end of the disc, you can hear various MacIntosh computer system sounds, like the little piano trill made when a process has been completed, and numerous pointer clicks.

VARIOUS ARTISTS

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 17:06:11 PST

This soundtrack is the accompaniment to the documentary Spokanarchy!, a look at the Spokane, Washington, punk scene during the late 1970s into the ‘80s. Bits of these songs are played through the documentary, but here are sixteen tracks in fifty-three minutes, from a number of bands you've never heard of. At first, this caused me to question the purpose of such a release, but as I thought about it I realized that not being well-known doesn't mean a band is bad. This is more of a document of an unknown punk scene from a particular time that, until now, had not been recognized in its whole and displayed for the outside world. Spokane wasn't a traditional music scene when it first started, though. There wasn't an overriding influence from New York City or Los Angeles. Spokane was a mish-mash of styles: new wave, Ramones-influenced punk, freaky art scene stuff, and a little bit of this and that. So the range of bands here include the Pink Floyd-influenced new wave sound of Sweet Madness to the hardcore punk of Vampire Lezbos and the reggae influence of M'na M'na. I can't help but be reminded of my suburban Indiana punk scene in the ‘90s and how, despite our location and lack of culture, some of the bands really were quite good and interesting. Spokane had the same thing going on a decade or two earlier, it would seem, just with different genres. I wouldn't want to say all the songs on here are great. Just like a compilation of bands from my home area during my high school and college years, there would certainly be some subpar songs. The actual bands may be quite good, but it's hard to say based on just hearing one or two songs. But, on the whole, I really enjoyed a number of these tracks. Terror Couple's “This is Spokane, Fuck L.A.” and Vampire Lezbos' “Plasma” were among my favorites (although both VL songs were up my alley). If you're feeling adventurous, have some connection back to Spokane or Washington state, or want to hear an example of people building a punk scene far away from its traditional foundations during punk's early days, then this soundtrack is for you.

VARIOUS ARTISTS

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 17:04:29 PST

If you've been paying attention, then you are aware of the fact that Sacramento harbors many amazing bands. You might have missed some of California's capitol city's great offerings even if you have been paying attention, as that's just the way it goes. Either way, here's a chance to get some history. Charles Albright's Sac Records has been documenting some of Sacto's best for over a decade now. Sacramento tape label Pleasant Screams teamed up with Sac to bring you this here tape that covers the earlier years of Sac Records' existence. Some of the best from the actual releases fill out the A side while the back is constituted of releases that never materialized, with the only exception I know being the Horny Mormons (Sac did a CD comp of their stuff). Starting off the tape are an excellent track each from The Bananas and The Knockoffs that were harvested from the Sac reissue of the Swimming in the Secret C comp originally on Secret Center, making Pleasant Screams the third Sacto label to put ‘em on a comp! Other highlights that help form the front side are tracks by the goofy Four Eyes (took me over a decade to recognize their awesomeness), Milhouse USA (quite possibly the best female-fronted punk band from Sac ever—Milhouse SMF could give ‘em a run for their money, though), and The Colonels (who will step forth and release a collection of this bands gems?!). Besides Horny Mormons leading off the flip with their killer “Discombobulated” (which mentions biting the mighty Sewer Trout!), you get more screwball tracks from Four Eyes, some aggressive and dancey yet jarring punk numbers from The Gynas, and one of the best songs from popsters Bright Ideas (recorded back in ‘02 with their Saturdays record). Fifteen bands, twenty-six songs, not a dull moment. Extremely recommended.

VARIOUS ARTISTS

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 17:02:18 PST

Red Alert, The FUs, Angry Snowmans, The USM, Evacuate, and oodles more launch an offensive to stave off the Christmas blahs with eighteen holiday-themed classics and originals. The results are expectedly mixed for this kind of endeavor —good, bad, and “keee-rist what were they thinkin?” all well represented—but ultimately should serve as the perfect punk-fam stocking stuffer and mood music for the annual Torching of the Christmas Tree.

VACANT FEVER

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 17:01:08 PST

Brief, fuzzy, and precise barely-post-minimal almost-art-rock that seems at times like it is trying to mentally insert a large, densely-studded silicon rubber centipede into my lower intestine so it can teach me to enjoy it when it pulls the centipede slowly out of my butt. The first couple songs were over three minutes long and i thought maybe they were too serious/pretentious/whatever for me, but the minute-something songs like “Yeah Yeah” and “Like It Or Not” are actually pretty cool, and briefly reminded me of “Psychocandy” era Jesus & Mary Chain doing Wanderers covers, although i overcame that hallucination with the power of my oversized mutant brain. Now, if you'll excuse me, i have to see a man about a large, densely-studded centipede. Good day. BEST SONG: “Yeah Yeah” BEST SONG TITLE: “Yeah Yeah,” especially if you're the Revillos. FANTASTIC AMAZING TRIVIA FACT: Not surprisingly, the tits on the cover prevented me from noticing the bloody nose on the cover for quite some time.

USELESS ID

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 16:59:38 PST

I always kinda assume that any Fat Wreck band I haven't heard of or didn't make their way up on a label I dig is probably “for kids.” That's probably a shitty generalization, but it's one that seems to be pretty accurate in the case of Useless ID. Straightforward, fast, melodic-yet-snarly punk rock played by guys who likely grew up on the same rather-accessible Southern California skatepunk that most of us found our stride with, but never really moved on from there. I'm sure a jillion kids love this shit, but I won't be jumping on board.

UNRELEASEABLES

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 16:58:00 PST

Lo-fi, lo-rent Ramones aping.

UNHOLY MAJESTY

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 16:56:27 PST

I can't think of another adjective for this debut, except for “lovely.” The chords are enough to make you forget what you're doing and take notice. These three doom and gloom tracks feature melodic U.K. grindcore with throat-ripping growls spliced with sound bites. Throw in some serious guitar solos that remind me of early Kirk Hammett and Dave Mustaine and Unholy Majesty have my full attention. “Age of Affliction,” my fave, opens this Pandora's Box with a slow, bone-grinding riff and turns things up with a double kick drum. Delicious. Recommended for those who want a little more than a wall of noise with their reign of terror.

TWO TEARS

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 16:54:51 PST

Simple trash rock from a former Red Aunt. The two tracks on the A-side are up-tempo, while the flip, “Senso Unico,” slows things down with just a hint of western flair.

TROPHY WIVES

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 16:53:03 PST

Ex-members of Elliott, Lords, and Coliseum attempting to bridge the gap between the Wipers and Kyuss. I suppose it is a successful attempt, but this is not a bridge I am interested in crossing.

TOUCH COMMITTEE

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 16:51:29 PST

Super winsome throwback to mid-'90s emo rock like Braid, Texas Is The Reason, or Sensefield, with an emphasis on that scene's smiley, bouncy aspects. Emo without the angst, but with handclaps, smiles, and great guitar work. And they pull it off without being dippy. The punker in me prefers the faster songs, but it plays all the way through, enhanced by meaty production.

THOR'S TEETH

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 16:50:19 PST

I like imagining the singer describing this record to his friends, “Dude, so I dressed up like a crazy Gwar Viking, and the guys from Pulling Teeth played all these W.A.S.P. riffs and, dude, we totally have a song called ‘Thunderhawk.' We recorded a live album. You shoulda been there!” Being there was important. The sound is fine, but I feel like I'm missing out on the fun by not seeing it. The fact that there's almost as much onstage banter as music drives that point home.

TENDRIL

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 16:48:54 PST

I was standing by the boombox, frowning, when my girlfriend walked in and asked, “Is the tape fucked up or is that the band?” Then I said, “You just wrote my review for me.”

SUN OF EYES

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 16:46:37 PST

One o' them bands that prance around the gray area between noise rock and industrial music, which means that it's in turns noisy, sludgy, plodding, brooding, and often more interested in mood than rocking the party. I reckon it's an acquired taste, but I thought the six tracks here were nifty. Back says this is limited to forty copies.

STONE KINGS

todd@razorcake.org (Todd Taylor) — Wed, 09 May 2012 16:44:51 PST

Visually, this is as cheesy as it gets, complete with logos of huge corporate online locales to “network” and “follow” this band. Sonically, somehow, this is an almost ridiculous approximation of ‘90s stoner rock. Imagine Kyuss with a really crappy singer and you have the Stone Kings. It would not have been bad at four tunes or so, but this thing is over an hour and really starts to grate. Honestly, this should probably be worse considering this band proclaims both Incubus and Nickelback as huge influences. Hell, even the putrid Queens Of The Stone Age will beat out that shit.