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We Are Carnivores - Brilliant name - that is all.
Sugar Ray - They appear to be having a ‘who’s the biggest twatbag’ competition on the album cover. Nuff said - *Add to basket*
Time In Malta - My boss hails from these shores and it just seemed apt really.

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Band - We Are Carnivores
Album - Well Wisher
Release date - Feb 2007
Price - £1.61
Notes - The jolt to the back of the head created by We Are Carnivores on second track ‘Dead Trust’ breaks me out of the sombre daze that opening intro of ‘-‘ caused me to sink into. It’s a jerking, vitriol of post-hardcore that rises and falls with the same disjointed bounce of Hot Snakes and I guess a touch of Nation of Ulysses. I’m particularly drawn to the vocals, which are a somewhat throaty, strangled bark of resent and gurgling rage. What I admire is the course, spikiness this mini-album has; it feels like the bastard offspring of a porcupine and a cheese grater, with haggard vocals that have been and ravaged by cigarette smoke, whisky and shouting. ‘Well-wisher’ has that uneasy, demented quality to it, like sharing your house with a person who has all the tendencies of being a serial killer, but you don’t dare ask for fear of being dissolved in the bath hours later. There’s a touch of that stark, desolate sound that Steve Albini-bands radiate on this, which I feel adds to the snarling, guttural punk of tracks like ‘Beckon the Tides’ and ‘Hourglass.’

Verdict/worth the price? – Most definitely. We Are Carnivores live up their namesake on this snarling, flesh-tearing 7 tracker. A razor-sharp, Dischord-worthy collection of noise and disturbing riffage.

Links

We Are Carnivores

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Band - Sugar Ray
Album - Floored
Release date - June 1997
Price - 1p

Notes - Ah, 1997… A happier time, when bands looked totally ridiculous and could peddle out any kind of baggy-short, shit-metal riffs and scandalous rapping and get away with it. ‘Floored‘ by Sugar Ray is so all over the place, like someone barfing on a waltzer. Some moments sound like Guttermouth covering Limp Bizkit songs, whilst the supposed ’serious’ tracks are completely laughable attempts and summer-lite frat-boy rap-rock clichés.
I’m reliably informed by wiki that ‘Fly’ is their ‘hit’ song and I can tell from this near 5 minute assault on my eardrums how Crazy Town were formed. Sweet zombie Jesus. Still, it is better than Shifty Shitshock’s band of incorrigible muppets. It’s actually the punk rock/speed metal mash-ups that work the best however, and save ‘Floored’, especially ‘Speed Home California’ and the stupid ‘Cash’ which sounds like a rejected Suicide Machines track. The ‘Stand and Deliver’ cover is truly something else though, whilst retaining elements faithful to the original, but with a similarly camp vocal lead (actually when vocalist Mark McGrath puts the effort in, his voice borders on decent) and some cheap synth bleeps and a strong rock lead it does the job. Probably the best 1p I’ve ever spent on an album since Fieldy’s Dreams.

Verdict/worth the price? – shit yeah. From an incredibly shaky start, I actually grew to liking this far too much, which worries me quite frankly. I think I’m regressing musically at the moment. They did manage to put 2 versions of ‘Fly’ on here though. WHAT THE FUCK SUGAR RAY??? WHAT THE FUCK.

Links

Sugar Ray

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Band - Time In Malta
Album - Alone With The Alone
Release date - 2004
Price - 43p
Notes - They’re on Equal Vision records, so I kind of know what to expect, but Time In Malta could prove to be a surprise. I’ve only really heard their cover of Guns ‘N Roses’ ‘November Rain.’ ‘Alone With The Alone’ starts of strongly with the melodic hardcore battery of ‘Bare Witness’ in it’s shout-sung vocal delivery, huge riffs and solid rhythm section and twisting, yet heavy delivery. ‘Tightrope’ follows a similar path, but it’s ‘Louder Than Bombs’ that mixes the post-hardcore template with the huge skyscraper choruses and defiant attitude that make Time In Malta truly stand out. The rage in ‘What Are We Afraid Of?’ brings to mind the heady days when Hopesfall were the toast of the hardcore town (before they lost all their members); whilst ‘Fused As One’ holds as a strong heavy rock number utilising soaring choruses and some nice punk rock influences. Whilst this is nothing essentially new, I can see how ‘Alone With The Alone’ with have definitely held its own and Time In Malta were perhaps the under-appreciated sleeper band of this genre and scene. It’s a decent collection and despite some tracks sounds quite similar, it sticks to its guns and what it’s best at to deliver the cream of the post-hardcore/metal. Shame they’ve been defunct for 5 years now, but I suppose nothing gold can stay.

Verdict/worth the price – I would say so. There’s some moments where they sound so similar to Hopesfall, which automatically makes it a winner in my book and it’s the right kind of hardcore racket that I enjoy, so what’s not to like really.

Links

Time In Malta

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By Ross Macdonald

Band – Bikini Black Special
Album – The Grim Mathematics Of Intercourse
Release date – now now NOW
Sounds like – The world can be bleak in a seductive kind of way

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Last year my ears were given the Royal Duke of Blessings in the form of Lancashire’s 5 piece Bikini Black Special.  Even then I hoped they would become massive and appear on mugs, t-shirts and your mum.

To my pleasant surprise they have just released their debut album ‘The Grim Mathematics Of Intercourse ‘ to the masses.

However I did have a strange feeling in my stomach, which was either last night’s  curry (probably made from cat’s livers ) or the worry that they had evolved into something that would turn out… Well shit..

This worry was taken away from the bombastic beats of title track ‘Schrodinger’s Bomb‘. These beats initially reminded me of the “bad times” when garage music became massive and hit our upper school like a bag of manky meat. But before you stop reading;  they actually use the beats to their full advantage.

The results blend into their own bikini brand, as  vocalist Kim beautifully intertwines her grim but strangely seductive lyrics, which leave you humming along for hours afterwards. Keyboard/guitarist Paddy mixes his own barks, raps and riffs, making  you eager to hear what is up next in the Bikini song pot.

What really stands out is the light and shade each of the tracks possesses. You find yourself listening and considering every song- the lyrics and the beats. Unlike all the modern idle wank that is out there, this spookalicious team are bringing music back to how it should be.

The best example for this is ‘El ango Del Hombre Diablo‘. The track  sloshes around your headphones like an alcoholic in the hot summer heat looking for the meaning of life. You become tangled in Paddy’s  slow persuasive banter. If that isn’t enough, Kim starts breaking down into a sobbing mess which seems a little odd at the start but then becomes extremely eerie.

It’s not all doom and gloom as upbeat track ‘Nagasaki‘ brings in the drum and bass mixed in with a twist of 50’s sci’ fi and punchy guitar, which I can see being their single if they are picked up for a record deal.

Listening to their tracks compared with their output a year ago, here is a band that seem to have been dismantled, examined under a giant microscope and neatly tweaked to give a even more bleak look at the future, still retaining their original sparkle.  Whether of not they have lost or gained fans through the process I cannot say, but the end result is tasty.

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Sounds

Click on the player to listen to the upbeat ‘Nagasaki’ from ‘The Grim Mathematics Of Intercourse.’

Links

You can buy/listen to the full album here
Visit their myspace page

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There’s a good chance you’re either dead, a humourless dullard or anti-Scottish if you can’t find anything to like about ‘Hey Everyone.’ Even the most tragically dejected, emotionally traumatized misanthrope will be able to find something to smile about on Dananananaykroyd’s debut. This could be any manner of things, ranging from the band chanting their name, like some football anthem over ‘Watch This!’ to the bit where the drums erupt into overdrive on ‘Pink Sabbath’ to the crushing breakdown on ‘The Greater Than Symbol and the Hash’.

It’s a pure endorphin rush of what I can only describe as the happiest collection of songs ever. The insane exuberance that this Scottish-sextet radiate is seriously infectious – whether it would crack a smile across the face of serial-miserabilist, Jack Dee on the other-hand, I’m unsure. There’s so much good feeling in this release, I can feel my teeth coming loose from the all the sugar and mouth-rotting glee they’ve poured into ‘Hey Everyone.’ This isn’t twee-contentment though; Dananananaykroyd are too heavy; too riff-based to slot into the bracket of xylophone tinkering and songs about Calvin Johnson – it’s more a jubilant exhilaration of rock ‘n roll destruction and face-punching excellence.

During the beginning of third track, ‘The Greater Than Symbol and the Hash’ - your arms should be following this pattern: simultaneously raised high in the air, before being brought back down hard on an imaginary set of skins. If not, you should at least be clapping along. As the drums build up on the 1.17 mark, you just know something special is going to surface and it does in the force of a Mr Tasty ice cream truck, crushing through the soundwaves with a sickly sweet, but delightfully rambunctious quality.

This is still, and will perhaps be my favourite track of theirs; mainly because it was the first one I heard (then with original singer Giles) but former drummer Calum seems to bring new life to the song, as does the album re-recording; which seems to have bee dipped in a thick layer of guttural sludge and furious conflict at the 3 minute mark. Juxtaposing such a noisy onslaught alongside ‘Black Wax’ is to me, a cracking idea. It emphasises the change in Dananananaykroyd’s sound, from the face-melting riffs, to the almost pop-rock glow, this single radiates. Drummer John Baillie Jnr’s vocals add a wonderfully camp-sounding support to Calum’s slurred punk screech – especially at the songs climax, as both attempt to out shout each other over the steadily rising drumbeats and scrawling riffs.

It’s picking out the best moments though that really make ‘Hey Everyone’ truly standout, and it’s littered with them. The part in ‘Totally Bone’ for example, where the music stops and Calum screams “WE BE TOTALLY BONE!” at the top of his lungs, followed by THAT bit, which you will know when you hear (okay, for those unsure, 3.30 – the drums making that shuddering break, then slamming back in like a Mike Tyson uppercut.) The entire 3 minutes and 12 seconds of ‘Pink Sabbath’ and its scatter-gun of frivolity and outrageous punk rock superiority. The drumming once again plays an integral part, backboning the entire track under its vast weight of tribal beats and almost math-rock sporadic flourishes. It’s easily something that a hundred Epitaph bands wish they’d written and has ‘ANTHEM’ written all over it in massive, 50ft high pink letters.

One thing Dananananaykroyd manage extremely well, is switching between their rollicking assault to their slow, ‘dredging-the-lake’ rumble of noise in a way that both bleed into one another without the listener realising there’s been a change in pace. If anything, it commands their head jerks back and forth more, whilst screaming their lungs red raw alongside the lyrical cascade. Speaking of cascades, the tumbling clamour in the middle of ‘Some Dresses’, is the sound of several instruments being dismantled and dropped down a flight of stairs in a scrawling mangle of feedback that acts as a surprising but not unwanted interval between the two different sides of this shout-a-long feel-good fest. More bands should have a gap of sound like this in their songs – it’s as if they’ve all come in from a night out drinking and attempted to each play a different song and then fallen over in a confused scribble of vomit and broken guitar strings.

‘1993’ and ‘Hey James’ follow in a similar fashion; a headstrong rush of scrambling, flailing sounds, content to trip each other up as they eagerly race towards the finish, whilst the clannish-part instrumental-part prog rampage of ‘Song One Puzzle’ ends proceedings in a wall of squealing feedback.

What more is there to say? ‘Hey Everyone’ is quite simply an anthemic head-rush of good vibrations, high-fives and stage dives. Like a Scottish Andrew W.K. fronting the Blood Brothers, with subtle party references - a cracking debut, brimming with positivity.

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Sounds

Click on the player to listen to the totally awesome ‘Totally Bone!’ from ‘Hey Everyone.’

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Links

Dananananaykroyd
Myspace
Last FM
Label

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By Ross Macdonald

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It’s interesting how you go about discovering music. The internet is directly responsible for much of what I listen to nowadays, but so is Rock Sound and I suppose, word of mouth. This is one of the first bands though has been recommended to me through an origami mouse sent in the post alongside a Glassjaw, Thursday and Eden Maine album. Y’see, the guy who sold me said CDs, included this dinky folded paper figure, with a web address scribbled on the side and info on a free 3 track EP to download. Naturally I would never turn my nose up at free music and went for it.

Dead Spex are a trio of noisy bastards from Nottingham/midlands area and have thankfully spared us from hearing songs about Robin Hood. It’s difficult to actually make out what they’re singing about, as the vocal attack ranges from slurred ramblings, to discordant screams and some brilliant overlaps, as the two (possibly three) voices meld into a twisted wreckage of conflict. Dead Spex exist with the world of snappy, acerbic punk rock that feels like some malevolent gremlin chucking sharpened stones at your head.

Somewhere within, lies the scrappy hardcore template that was created by Minor Threat, combined with their twisted, snotty attitude of ‘I don’t give a fuck’ mentality, especially on ‘Eating Teeth.’ The guitars on ‘Friends of’ gives a nod towards the cutting barbarity of Hot Snakes (see ‘Suicide Invoice‘ era), whilst the vocal-back-and-forth is reminiscent of two rivals having a shouting contest over some incredibly jarring post-punk. This notion is further emphasised to even greater effect on ‘Wires’ with both vocalists screaming their faces blue and larynxes red raw, whilst the rickety rollercoaster of almost early Husker Du-hardcore rattles over the top. The stabbing, jagged opening is a sharp, bitter vision of clattering, dishevelled drumbeats and fuzzed out scrawls of fury.

Dead Spex have got that fragmented, ramshackle sound that really does appeal – it’s similar to how I like my steaks – rare, a bit bloody but full of flavour. Now, if that crap analogy hasn’t left you with your mouth watering and the need to download this EP, I’m not sure what will. I strongly recommend this for all those who enjoy 2 minute blasts of scuzzy noise-punk.

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Links

Dead Spex
Dead Spex Last Fm

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By Ross Macdonald

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Newsflash: Big Scary Monsters are a brilliant record label. I’m surprised they haven’t gone under with the amount of free stuff they give away, but hey, I suppose it attracts people who then go on to spunk their cash away on the frankly incredible selection of bands the BSM roster holds, so why not chuck out a few freebies? I’m not complaining! I wish more labels were this generous. Anyway, this week’s free morsel comes in the form of a 6-track EP from a Birmingham band called Shapes.

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They couldn’t have picked a more fitting name really. Mind you, I’ve always considered Tetrahedron to be a pretty awesome band name, but it would involve about 4 guitarists, 3 bassists, 5 drummers, a shit load of feedback and no ears by the end of the first practice. But I digress – Shapes is the perfect name for this trio, who excel in creating a convoluted mixture of shifting, math-rock patterns, interspersed with the customary big riffs and some sparse vocal shouts.

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‘You’ve Made Your Bed, Now Eat It’ roars past in a 2 minute whirlwind of frantic punk rock that jolts and bounces like a drunken train driver, desperately trying to keep on the right track. The vocals are ‘blink-and-you’ll-miss-them’ hoarse backing cries of alarm that suit the jerking, brash nature of their sound. ‘Dreams In Twisted Fuselage’ fleshes out the math-punk sound, with nods towards the changeable guitar times of Meet Me In St. Louis and a twisted, low-end heaviness. The change in this track is quite dramatic; as it alters from something that is inherently tuneful and melodic, to a wild churning froth of riffs and clattering drumbeats.

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Shapes are a band that doesn’t want to be seen as jamming the square brick into the square hole. They seem content in forcing the triangle brick in the circle hole, no matter how much of bastard it is to fit. ‘Retreat, Attack!’ lumbers forward with dogged determination, getting progressively louder and more intricate as the guitar and bass cut different lines and sounds through the militant percussion. It’s the kind of stabbing, ready for war attitude that Irish instrumentalists, And So I Watch You From Afar have perfected so well and so thoroughly. ‘Everything More Out Of Tune That Everything Else’, (subtle Meat Loaf reference there) whilst trying to maintain a ponderous, progressive nature is a scribble of confusion and chaos; as the rhythm section and guitarist seem to be playing at different times and speeds to one another, each unsure when the next is supposed to begin or even finish. ‘Yer Cold Bastard’ is as the name suggests, a fairly stark and adamant piece; it’s brash and quite desolate guitar sound chugs with an indigent fury, yet it finishes with a flourish of emptiness and the meagre vocals, screaming the words ‘bed tonight!’ before finishing with a muted out-of-tune whine.  Unfortunately, the last track, ‘Get your Remix On’ is fairly disappointing and is reminiscent of someone trying to emulate the sound of Gameboy being fed through a speaker alongside a Theremin and some badly programmed drums.

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To me Shapes are a tantalising prospect that verges from moments of pure brilliance to ‘what the fuck?’ moments of bizarre tomfoolery. This is a great start though and for the cost of zero pence, a worthwhile selection of songs to investigate.

‘The Pasture, The Oil’ - the second EP from Shapes is out now on BSM.

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Links

Shapes on Myspace
Big Scary Monsters
BSM Friend
Shapes Last FM

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By Ross Macdonald

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The Ghost of A Thousand - Running On Empty

This sounds a bit like The Bronx, instantly awarding The Ghost Of A Thousand two very enthusiastic thumbs up. You could be forgiven for thinking the scratchy vocals are that of Matt Caughthran, such is their raw hoarseness. The music itself is a persistent car-pile-up of punk rock and really it’s quite excellent and a decent start. It also begs the question why I haven’t listened to this band before. Needs more backing vocals as well.

Anti-Flag - Bring Down Their Wall Again

I see Anti-Flag haven’t changed much since I last heard them. I still stand by the fact that they will never top ‘911 for Peace’ which is pretty much perfect, but this is by the numbers, fist in the air, shout-along, rabble-rousing punk, which is decent by their standards, but feels like something they recorded about 7 years ago. “It’s time to chose what side you’re on, the side of the people or the side of the gun!” – actually I can see this being a popular live track, so disregard any of the negative points above.

The Blackout - ShutTheFuckUppercut

Hahahaha, I approve of the song title (which sounds like a phrase Steven Seagal would utter before he introduces you to Mr. Fist) and of The Blackout’s dual-vocal, hardcore onslaught. Splitting both melodic and harsh screaming between the two singers is nothing inherently new, but it’s a technique that works, especially on a track so full of body and pumped up energy as this one – a winner in my book.

Placebo - Battle For The Sun

Dear Mr Moloko, whilst listening to ‘Battle For The Sun’ I couldn’t help but notice how annoying you sound repeating the last word of each sentence over and over. This is also the first time I’ve listened to Placebo in ages and ‘Nancy Boy’ was really good. This…isn’t bad and the chorus sounds decent, what with the slight string parts I can just about hear, and  the “dream brother…my killer…my lover” bit. Anyway, lose the crappy repeated bit at the beginning and it could be great. Warmest wishes, Ross.

CKY - Hellions On Parade

CKY are still together? Blimey. Thoughts on this: ehhhhh….well, it would work about 8 years ago. I see they’ve opted for some big plodding riffs and the howling vocals, and if you were drunk then I’d probably sing-a-long to this. It is however, the kind of thing that would fit on Tony Hawk’s Pro Skater 27, which is by no means a bad thing.

Sucioperro - Are You Convinced?

Really, really boring until the last 25 seconds when they all started screaming “do you think it fucking matters who we say we are, who we think we are and who we try to be.”

Cursive - From The Hips

This is really quite stunning. There’s kind of a Hold Steady, ramshackle-pace, accompanied by some noisy, clattering punk, leaving quite a change of tune between the tracks sombre, jazz-band-on-the-slow opening. (Yeah this makes no sense, but I know what I mean.)

Moving Mountains - Lights and Shapes

Twisting down the melodic hardcore path, backed by a heavy wash of reverberation, muted strings and smatterings of electronics, Moving Mountains create a solid wall of sound and the instrumental breakdown has a certain stirring complexity about it.

Codes In The Clouds - Don’t Go Awash In This Digital Landscape

Needs to be louder, so, so much louder. Or perhaps heavier? Anyway, this isn’t challenging enough – it’s too standard - it’s like they’ve followed some post-rock for dummies yellow book; needs rawer, gutsier riffs and the drummer needs to beat those skins until he busts straight through and his left smashing the sides to pieces with his blood-smeared hands.

Coalesce - The Plot Against My Love

Sorry Coalesce fans, but this sounds well nu-metal. The stupid distorted rapping for one thing does this no favours, but at the least the guitarist has the decency to bend his sound so it see-saws between the standard knucklehead plod, to an almost “my time signatures have gone to shit” flourish.

Youves - Fully Erect, Serve and Protect

I’m sorry, but Youves really do sound like Liars, circa ‘They Threw Us….’ But then they also sound like a pack of dogs  jumping up and down on some instruments. Whatever the case, this is some fantastic dance-punk that makes my body twitch like Michael J. Fox.

Telepgraphs - Your First Love Is Dead

One particular riff in this track is bugging me, because I’ve heard it somewhere before and I can’t think where. Whatever the case, I bloody love this. It has the same giant crushing choruses of Renee Heartfelt’s emo-channelling hard rock, along with some suitably tormented, yet passionate and irate cries from vocalist Darcy. Would definitely listen to more Telegraphs given the chance.

White Light Parade - Burn It Down

“She hates this town…she’s burning it down tonight” – so you date an arsonist do you? Wowzers. I don’t have any real opinion on this, just I’m glad it was over really. Not offensive, just not really anything there to ‘wow’ me.

My Passion - Crazy & Me

I really can’t put into words how bad this is. Even if Hitler, Harold Shipman and Fred West formed a band, they’d still be better than My Passion.

Serpico - Godforsaken

Ah, the band name reminds me of this classic scene from Jay and Silent Bob Strike Back:

Jay: “Whoa! What the bleep, Serpico? What’d we do?”
Cop: “We got a report of two guys hanging around outside a store selling pot.”
Jay: “We don’t smoke pot, yo.”

Etc.

Brilliant. Oh yeah, I don’t like this, mainly because of the rather lacklustre vocals, but it’s still streets ahead of My Passion.

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Links

See above, I’m trying to play chapter 7 of Mirror’s Edge and I’m really shit.

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By Ross Macdonald

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Band: Capdown
Time active: 1997-2007
Sound: politically-charged, fast-paced skacore. The band experimented with elements of dub, hip hop and hardcore in their sound, making them truly standout from the legions of other chequered-loving acts that surrounded them. Vocalist Jake Sims-Fielding saxophone playing was a particular highlight, as where his sandpaper larynx and unusual, slurred singing voice.
High points: their live shows were always a riot and they packed out toilet venue after toilet venue and lived on the road during their 10 years together. Debut album ‘Civil Disobedients’ is considered by many underground music fans as a benchmark in UK punk rock. Touring with many high-profile punk bands such as Less Than Jake, Pennywise and Lagwagon. Being part of the Deconstruction tour, an incredible live set at Reading Festival in 2001, and tours with Bad Religion and Hundred Reasons.
Low points: The six year gap between their second album ‘Pound For The Sound’ and the radically different sounding ‘Wind Up Toys’ was a killer. With a couple of superb singles and 1 live album released between then, their fanbase drifted and soon lost interest in what was once one of the UK’s most prolific bands.
Fast fact: The first gig I ever went to was Capdown at the lovely establishment known as Hitchin’s Club 85. It cost £4- great night that. Also, their name stands for Capitalist Downfall.
Recommended listening: both ‘Civil Disobedients’ and ‘Pound For The Sound’ are strong albums, with the former having a more scrappier, punk rock edge as opposed to the slight hardcore leanings of the latter. Plus, ‘CD’ has ‘Ska Wars’ the band’s notable anthem.
Where are they now?: split up in November 2007, 9 months after the release of ‘Wind Up Toys’. Bassist Boob and drummer Tim are both apparently working with Simon Wells from Snuff/Southport in a new band called The Maccalites. The whereabouts in the musical world of guitarist Keith, sax/vocalist Jake and keyboardist Eddie are unknown.

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Band: Lightyear
Time active: 1997-2003 (the band split up and reformed between 2006-2007 to play benefit shows.)
Sound: insane ska punk chaos from 7 men who would frequently get naked, use big cardboard pirate ships as stage props and generally twat about having more fun than any other band in the world ever. They retained a heavy, brash punk rock sound that was stuffed to bursting with parping brass and the quick-fire vocal delivery from vocalist Chas and trumpet player Neil.
High points: Their live shows, which were utter bedlam, plus like many bands of this ilk, touring their arses off. Shows with Capdown, Mad Caddies, Save Ferris and Nerf Herder, Suicide Machines and a place on the Concrete Jungle tent at the Carling Festival in 2002. They were also kicked off Steve-Os MTV Jackass tour for being too rowdy.
Low points: From a fan’s point of view; splitting up. From their point of view – very little. The toll of playing 300+ shows in 2 years must have drained and pushed the band to the point of exhaustion in their heyday.
Fast fact: I’ve seen Lightyear perform live on 8 separate occasions, which is more than any other band. Also, vocalist Chas signed a bit of paper to me saying ‘Clits, my dogs.’ What a guy.
Recommended listening: Their debut ‘Call of the Weasel Clan’ is a great place to start and is probably one of the most consistent albums I own in terms of quality.
Where are they now?: defunct, but probably ready to reform one last time, should the great weasel signal be displayed in the sky…

Visual: Click on the player below to see Lightyear dressed as Bully, MR T, Marty Mcfly and Egon!

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Band: Less Than Jake
Time active: 1992-present
Sound: despite several band members being hardcore metalheads, Less Than Jake’s sound is characterized by its third-wave ska punk tomfoolery and cheeky pop-punk bounce. Throughout their 17 years as a band, their sound has evolved into brass-tinged punk rock sheen from scrappy beginnings. Most of their songs stem from real life experiences and are about real people/areas in and around Gainesville where the band are located.
High points: Being one of the biggest and well-known ska punk bands in the world, Less Than Jake have built up a solid reputation in the mowhawk circles, thanks to their live performances, prolific song writing, solid back catalogue and commitment to their fans, not to mention the release of their 1998 album, ‘Hello Rockview.’
Low points: ‘In With The Out Crowd’, an album which saw them depart from their ska punk sound that flooded so freely through their past releases. However, their return in 2008 with ‘GNV FLA’ saw them combining this new pop-punk edge, with their brass backing to greater effect.
Fast fact: The band name stems from the dog of their drummer, Vinnie Fiorello. In Vinnie’s house, the dog was treated better than everyone else and the name was born.
Recommended listening: ‘Hello Rockview’ (not because it has ‘All My Best Friends….) but due to the fact it’s simply their best work, flows nicely, terrific selection of songs and the brass element has never sounded stronger. ‘Borders and Boundaries’ is also a great starting album, as is 1996’s ‘Losing Streak‘ for a more rough ska-punk edge.
Where are they now?: still going strong and are set to appear on the Vans Warped Tour this year.

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Band: Adequate Seven
Time active: 2000-2006
Sound: More funk-punk orientated than the ska leanings that other acts in this article display; but the A7 were familiar touring buddies of Lightyear and Capdown so they deserve a place. Riot-provoking hardcore funk, with a driving horn section, dancing trombone player and a superb collection of catchy, uplifting songs.
High points: signing to Household Name Records, releasing ‘Songs of Innocence and of Experience‘ in 2003.  Their touring schedule rivaled Capdown’s for shear weight of artists involved, including Hundred Reasons, Fishbone, Lightyear, Cypress Hill, The Slackers and European tour with the Suicide Machines (see SM feature here) They went on to release their second album through their own label, before recording a live album and then splitting up in 2006.
Low points: splitting up really! They seemed to be at the top of their game, but I’m guessing the stress and pressure of touring finally called an end to proceedings, which is a real shame.
Fast fact: Their debut album title is taken from a William Blake poetry book.
Where are they now?: Defunct. Although I’m reliably informed that some members are working on new bands (vocalist Jamie is in a metal band now!) and bassist Will Davies is now in Attack! Attack! who are signed to Rock Ridge music and will be featuring on the next Guitar Hero. Nice work!

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Band: Jesse James
Time active: 2000-2007
Sound: brass, brass and more brass. It was like someone had stuck the horn section from a marching band in a punk rock outfit and told them to get on with it. The horns were more in league with those of Rocket From The Crypt than the noisy frivolity of Reel Big Fish. Their live shows were never quiet, and relied on a barrage of sound and blasting energy, backed up by the quality of their songs and the passionate nature in which they were delivered.
High points: recording their second record ‘Mission‘ with Ryan Greene, (NOFX producer), being signed to Deck Cheese and Golf Records, both popular ska punk labels at the time,  ‘Shoes‘ being a massive and I mean massive underground hit and a stint in the punk tent at the Carling Festival in 2002.
Low points: losing members every so often and the pressures of touring.
Fast fact: their infamous ‘Dear Jesus’ video being banned by UK tv and they were the first band I ever reviewed for my University newspaper!
Recommended listening: Both the ‘Shoes’ and ‘Hotwired‘ Eps are a good starting point, but the debut ‘Punk Soul Brothers’ is worth a listen as is ‘Mission’.
Where are they now?: saxophone player Pete and guitarist Ben are now both part of tyrantcore 4 piece Down I Go.

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Band: Leftover Crack
Time active: 1999-present
Sound: Like Dani Filth fronting a skacore band who can barely play their instruments. The Crack have a no-nonense, anti-everything style of raucous, mangled punk, with a vocalist who possibly eats broken glass for a living. As well as being fiercely anarchistic, angry and anti-government, Leftover Crack are actually one of the first bands to fuse ska with death metal. You’re probably shaking your head at this, but really, it’s not that bad honest. Plus, they sounded pretty good most of the time.
High points: Having a strong following in the underground community and generally being a band that inspires hope, if a somewhat misguided yet angry hope within people.
Low points: Death of drummer Brandon Possible in 2004, plus numerous bannings from various venues around New York, Canada and vocalist Stza’s continuing trouble with the PoPo.
Fast facts: Their name is an oxymoron and their second album was delightfully entitled ‘Fuck World Trade.’ Stza’s previous band, Choking Victim released an album called ‘No Gods, No Managers’ and featured no barcode.
Recommended listening: ‘Medicore Generica’ is 33 minutes of fucked-up skacore that has more crust than a steak and ale pie from a local truck stop.
Where are they now?: Still together (despite more line up changes than Zao) and set to tour America in June.

Sound: Click on the player below to listen to ‘Gay Rude Boys Unite‘ from ‘Medicore Generica.’

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Links

Capdown
Lightyear
Less Than Jake
Adequate Seven
Jesse James
Leftover Crack

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By Ross Macdonald

Cock Rock Disco

Every time I visit their site a new free download is available. Admittedly, it’s not always to my taste, but there is always some gems buried deep beneath the horde of garish colours and splattered break-beat squeals to keep myself entertained. Their compilations are always great, so thank god for this new one, almost 3 years since the last, which became my summer mixtape back in 2006. ‘Monsters of Cock 2009′ (ho, ho, ho!) is the follow-up and features several artists from the former release as well as a plethora of new acts eager to destroy eardrums with their howling cacophony. Let’s take a look!

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1. Captain Ahab - Feel Anymore

It’s like really old-school Prodigy! Think ‘No Good’ but more pink and fluffy, a killer trance chord that burrows its way into your cerebrum (a refuses to leave, setting up several shopping centres, a college and a power plant), an incredibly brief sample of No Age’s ‘Everybody’s Down’ and some uptight vocal chanting that adds an air of haughtiness to a piece of music that is a splattered mash up of rave and pop madness.

2. The Assdroids - Do These Diapers Make Me Look Fat?

What The Assdroids lack in tune they make up for in volume and ‘how many different squealing blasts of noise can we fit into 2 minutes of music?’ It sounds like Lightning Bolt fighting a giant gameboy and for this reason it’s one of the best things I’ve ever heard. Every second is a complete wrong footer of mangled notes, jangled beats, hyperactive roundhouse kicks of fucked-up aggression and techno yapping.

3. Vorpal - Downtime

Taking a different path to save my ears from another bout of aural destruction, is Vorpal who trades blast-beats for some ambient techno, that mixes a lounge jazz vibe with a trippy, dream-like swirl of stop-start drum patterns and bubbling fuzz. Sounds like remixed elevator music.

4. Duran Duran Duran - Year of the Cock

At the opposite end of the musical spectrum to Simon Le Bon is Duran Duran Duran. The splicing of throbbing harsh noise with stabbing, breakbeat patterns and glitchy twists, drags this track up from something that originally sounded like it had been recorded underwater during two all night raves that had been glued together.

5. Nero’s Day At Disneyland - Stately, Wrong

You know that episode of The Simpsons where Homer becomes obsessed with the idea of ‘going to clown college’ and sees everything with clowns or elements of the circus? Well, I imagine this would be playing through his mind had he also consumed Mexican insanity peppers at the same time. Now THAT would be a good episode. Also, I have no idea what this is supposed to be – fucking mental.

6. Next Life - The Meat Office

This is an old track! Shame on you CRD. Still, I have a lot of time for Next Life, whose musical approach is that of technical metal-meets-the Space Harrier theme. There’s enough riffs and metal to appeal to the grunts in black t-shirts and enough electronic violence for the digital hardcore nerds to lap up.

7. Desper - Basics Sessions

Interesting. The distorted cymbal crash reminds me of the drum program you get on casio keyboards – i.e. tacky to the max, but excellent if you’re making bizarre techno. The swirling rise and fall synth wave gives ‘Basic Sessions’ turns my stomach slightly, but isn’t altogether unpleasant. The progressive drum ‘n bass build up near the end is a much better addition.

8. Dev/Null - Rage Template

Elements of this draw to mind a persistently ringing telephone during a high-speed game of Super Mario Brothers, whilst someone plays the drums very loudly in the next room at varying speeds.

9. Food For Animals - Summer Jam (Ricky Rabbit Remix)

The first track with ‘proper vocals’ instead of ambiguous  samples from old films. Food For Animals combine rap with erratic breakcore, which switches from in-your-face bouts of frantic adrenalin, to mellow jazz interludes, only for the pace to be shocked back into gear with another blast of machine-gun beats and hostile lyrical tirades. Ace!

10. Terminal 11 - In Love With You

Confusing to say the least, as the title implies this would have a more softer, ambient tone and not retain the caustic, glitch-ridden beast that has spewed forth. Hard to listen to and aggressively disturbing – imagine a radio on the blink during a storm whilst driving through a glass factory or something.

11. Stunt Rock - An Itemized List Found on My Website, Detailing Reasons Why 95% of Musicians on this Compilation have No Artistic Integrity, Pander to their Audience, Incessantly Glad-Hand their Peers, Act Self-Important, and Have Issues with Their Race and Sexuality

I reckon the title will be longer than my brief analysis. Cocaine references litter this piece of stupid sounding noise as well as the same few piano notes played over and over some trip-hop beats and yet more ‘it sounds like a badly remixed sega mastersystem soundtrack’ for good measure. Incidentally, I don’t hate this, just bemused by it all really. Epic song title though.

12. Otto Von Schirach - Satanic Unicorn Orgy

xD xD xD = rough translation means I find this hilarious. After the metal scream of ‘SATANIC SEX WITH ALIENS!’ The Right Said Fred-lyrical samples kick in, over some campy-techno beats and some sickeningly garbled noises and even a clucking chicken. This continues for about a minute and a half. What the fuck.

13. DJ Donna Summer - Chicken Dance

Bwahahahahahahahahahahahahahahaha Think a pounding drum beat. Think kazoos. Think ‘The Birdie Song’. Think putting all these together and chucking them in a blender. Outstanding.

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Sounds

Fancy listening to the Assdroids? Click on the player below, you fat fuck.

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Links

Cock Rock Disco
Cock Rock Disco Myspace

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By Ross Macdonald

In any case, those that are familiar with Frank Turner’s work, but never really heard the stuff he did before ‘Sleep is for the Week’ or ‘Love, Ire and Song’ should seriously consider getting ‘A Song To Ruin’; plus the inclusion of single-only release ‘I Gave My Eyes To Stevie Wonder’ (which is one of their best songs) and ‘Medicine’ is a nice touch.

Frank Turner is set to release a new album in September entitled ‘Poetry of the Deed’ (pun-tastic!) in September via Xtra Mile and Epitaph. (Cheers to Punknews for this and the above info!)

If anything, this news has made me put ‘A Song To Ruin’ on again and it still fucking rocks, especially the bit at the 2:30 mark on ‘The Rise and Fall’ where the drummer starts screaming. EPIC.

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Video

‘I Am The Party’ (featuring some nice MTV2 tags at the top) by Million Dead.

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Links

Million Dead Myspace
Fansite
Frank Turner
Xtra Mile

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By Ross Macdonald

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Having Rick Froberg back behind the microphone, his rasping voice being back up by a volley of strangled guitar rattles is a welcomed return. The man who brought us Drive Like Jehu and Hot Snakes has finally decided to put his latest opus to tape in the form of ‘I Blame You’, an album which sees a departure from the jagged-math precision of Jehu and the raw, ‘fuck you’ punk rock of Hot Snakes. Obits exist as a stripped down, more refined project, focussed towards straight forward, intricate song writing through jangling, discordant guitars, drenched in a healthy dose of the past.

Obits have a strange sound. In some cases it appears certain verses have been exhumed from some tomb, having remained lost for the last 40 years and are only just being heard for the first time. It’s this gritty, determined squeal that just really doesn’t fit into our world. Whereas on the other hand, a huge percentage of the rhythm section feels as though it’s being recorded in the room next door. The clarity in places is quite astounding, adding balance to the early, stripped down guitar clatter.

It should be noted that Froberg’s vocal technique on almost all of ‘I Blame You’ is surprisingly clear in places; weathered by experience and control. It still has that brackish edge to it, but due to Obits not rattling away with the unstoppable trainwreck force that Hot Snakes had, Froberg is able to keep up with the music without his words descending into a muffled shout of unintelligible garble.

Going back to the guitars, which may sound pretty ordinary from the confines of normal stereo speakers; but listening to opening track ‘ Widow Of My Dreams’ through headphones and you can hear the magnificent see-saw interplay between both guitars, follows a more scratchy, discordant fuzz, whilst the other favours a more jangling, tuneful tone, complimenting the opening harshness effectively. It’s hard to describe; but this is one of those songs that makes you want to pick up a guitar and start to play; it’s got that choppy, yet delicate rhythm that any budding six-stringer would love to perfect.

The next track, ‘Pine On’ was reviewed by Mad Mac back in March, where it fell under rather unfavourable scrutiny. It was described as ‘an annoying row’ and ‘reminiscent of the loud pounding rock music of the 60s and 70s….’ which is technically true, ‘Pine On’ is an mostly certainly bothersome racket and the closest Obits have come to writing a standard punk rock track and is perhaps one of the most accessible and instant 3 minutes of brilliant, aggravated friction on this album.

The twanging guitar intro to ‘Fake Kinkade’ is something I could have on repeat for days. In fact, I’ve pressed the skip back button so much, it’s in danger of breaking. A dangerous, guttural sound that leads into a 70’s garage rock shuffle of boastful vigour.

Froberg steps away from the microphone on ‘Run’ allowing second guitarist Sohrab Habibion to take lead. This adds a different dynamic to Obits’ sound, giving them a more soulful and melodic tone, as Habibion’s voice, whilst seems both snotty and slightly indignant, has depth and a rich warmth that Froberg’s lacks. There’s still that gnash and scrape of their punk edge, but the vocal swap adds a harmonious touch that I think the album requires in order to set the balance. Sadly, this is the only track to feature this vocal swap, let’s hope on album 2 Habibion is given more time in front of the mic.

I can’t decide where I’ve heard the familiar, yet nagging guitar line on ‘Talking To The Dog’ and no doubt it will bug me for the rest of eternity. It’s hard to depict exactly how it sounds, as it has that trashy, crackle of a Hives track being played at the same time as one of NOFX’s slow songs. The jaunt, and cocky swagger is apparent, especially on the chorus and the late backing vocal shout of delight.  It is also the first of two tracks that show similarities to Hot Snakes, which might not be apparent to begin with, but start to shine through on repeated listens.

The title track, whilst only being 68 seconds long, is a testament to Obits and their ability to make such a sinister minute long shred of sound. Slotting somewhere alongside the Beach Boys and disorganised jazz, they create a track Daniel Craig would run about to, snapping necks with his bare hands and flouting his licence to kill like an outrageous peacock.

What is also apparent in Obits’ sound is the resonant howl the guitars forcefully and successfully drill into the listener’s brain. ‘Milk Cow Blues’ has this echoing wail that brings to mind elements of a ominous horror film soundtrack, playing on the strengths of it’s obvious rock ‘n roll structure and the nature of the guitars braying to the moon like howling werewolves. Even the rhythm section has threatening streak; the fast, militant drumming, the cutting grind of the bass, not to mention the vocals, which are a cold shrill bark in the dead of night.

Closing track ‘Back and Forth’ struts with a distinctive laid-back groove, far-removed from the rest of the album’s spiky, raucous image. It’s a nice touch, and brings to mind the intricate summer-rock of ‘Plenty For All’ from ‘Audit In Progress.’ It’s a track that has huge sing-along appeal and one I can see receiving rapturous attention when played live.

A cynic would argue that Obits offer nothing new to the rock music climate. True, they don’t – but what they do offer is some incredibly tight-musicianship, a progression and nods towards ghosts of bands past and a slick blues-sheen of confidence and charm. Those familiar with Froberg’s past who don’t own ‘I Blame You’ what the hell is your major malfunction? You get out there and you buy this record. I don’t care if it means you’re not eating for a week, you need this in your collection!

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Sounds

To listen to ‘Fake Kinkade’ by Obits click on the player below!

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Links

Obits Myspace
Obits Official Site
Sub Pop

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By Ross Macdonald