Archives for category: Reviews

Warsong‘s new 12″ mastered here reviewed at Punknews.org.

“Warsong hail from Zaragoza, Spain and in 2011 the band released the excellent nine-track album Ancient Times. With this followup five-track EP, the band manages to maintain the momentum that the long player gave birth to and deliver some more quality garage/rock ‘n’ roll-influenced punk rock that takes its cues from a wide variety of bands including the Adolescents and the Wipers (which might seem obvious with a Greg Sage-penned cover featured on the release). Vocalist Carlos manages to channel a sense of Cliff Hanger (The Freeze) in his delivery despite having the obvious inflection from not singing in one’s native language.

“Feel The Darkness” (not the Poison Idea track) manages to mix the Adolescents, the Crowd and Agent Orange into a sound that really takes some beating and which really does have a great early ’80s SoCal punk feel to it. Despite those specific band comparisons there is still that hint of garage punk within the music and it’s an exemplary mix of different genres of punk.

“Winter Sun” opens with a great intro and the guitar leads throughout add to the melody rather than taking over with any invasive high pitched tone. The title track, again, features a strong intro with guitars and bass creating a minute of anticipation before the vocals come in to help bring this high point to the fore. It’s hard to keep saying the same thing but Warsong certainly excel at introductions and “Surrounded” is no exception with a Freeze-like quality. There are times in this song when the guitars momentarily drop out and it helps generate a looseness that makes me think of a guitar cutting out during a live performance only to almost immediately kick back in. That kind of thing is what sticks in my musical memory-I’m sure we all have moments like that when something happens in a song and you look forward to it whenever playing that record-and I’ll no doubt listen to this with a longing for those drop outs in the future.

With an atmospheric cover of the Wipers’ “Window Shop For Love” that is more polished, albeit only slightly, than the original bringing the EP to a close, Warsong have clearly displayed an ability to write songs that hit home with an edgy, anthemic and melodic purpose as well as showing them as having the facility to choose wisely in seeking a song to cover. There is a warm tone to the five tracks that presumably comes from the production here and this is what I like to hear from punk with a garage feel to it as it seems to strengthen the sound. Basically, this is 18-and-a-half minutes of high quality punk rock that is based around some solid musicianship.

You can listen to the EP on Warsong’s own Bandcamp page, as well as finding a link there to download Ancient Times for free.”

Original Post Here

 

Youth Avoiders  – Time Flies 7″ review in Maximum Rock n Roll.

 

 

 

 

Daylight Robbery first review from RAZORCAKE:

“In 2010, David and Christine Wolf had to replace the equipment that was stolen when their Chicago house was broken into. They wound up building a home studio, where their band Daylight Robbery recorded their gritty second album, Ecstatic Vision, on a Tascam 38 tape recorder. The album’s lyrics come from people balancing adult responsibilities with playing in a DIY band; rebuilding while sorting out memories and trying not to dwell in the past; asking questions like, “What’s the point?” and “Where do we go from here?” While the lyrics are taking stock, the music pushes forward, vibrant, faster, urgent, with David and Christine both sounding more confident and engaged on the mic. Like their first album, Through the Confusion, Ecstatic Vision has ten songs, but it’s five minutes shorter, wrappin g up after twenty-eight minutes with the choppy, jolting “Grassroots,” one of the few new songs that hasn’t jettisoned the band’s new wave influence for spacious, propulsive Australian garage like Radio Birdman or Eddy Current Suppression Ring. It’s not that Daylight Robbery sound like a different band, it’s that they’ve avoided the “same thing, not as exciting” sophomore trap by putting out a record that is rawer and punker, the live-to-tape closeness (and muffled drums) making it easy to mistake for the lost demos of some awesome L.A. by way of Australia band, circa 1979. A retooled dynamic compensates for the downgrade in fidelity. In this claustrophobic recording, the guitar parts have a stronger delineation between riffs and leads, and the band creates the signature space between David’s dark, desert/surf leads and the counting-trees-flying-by-on-the-highway momentum of Christine’s bass and Jeff’s drums by minimizing overdubs. If Confusion was the sound of running down the midd le of a dark street, trying to gauge the closeness of your pursuer’s footsteps over the pounding of your heart, Vision is peeking out of a gangway, panting, knife pulled, hoping that the person chasing you runs past. Keep fighting, Daylight Robbery. –CT Terry”

“How often do you find a band these days where you can’t stop, and don’t want to stop, playing their record? For me, this isn’t a regular occurrence, but when you want to tap your fingers in time to the songs, and are singing along to the words after the second time of listening, you know you’re on to a good thing.

Role Models are based in London, and they live up to  being influenced by The Replacements (circa ‘Pleased To Meet Me’ in my opinion), with some of The Kinks thrown in the mix. This is infectious, poppy rock ‘n’ roll at its best.

The opening track ‘Little Let Down’ has all the right ingredients for a catchy radio hit – melodic guitars, gritty vocals and catchy choruses (something which features throughout the record – but this song especially).

‘New Reason’ has a more punky edge to it – dirty guitar in parts, gritty vocals, and a loud driving drum beat, which makes this track stand out for me overall.

‘Enough For Giving Up’ ends the record on a high, with a bouncy verse, making you automatically tap your foot along to the song in appreciation.

Some of the Role Models songs can be sampled on their Facebook page, but the best way to listen is loud on your record player, with the headphones on! I reckon they’re a band to watch out for.”

Original Post Here

 

“[POST-PUNK POP] Red Dons’ moddish post-punk has never lacked for melody, but the Dons’ new Dirtnap Records 7-inch might be the Portland quartet’s most comely pop product yet. A-side “Auslander” comes within spitting distance of the five-minute mark without ever threatening to overstay its welcome, which is a rare feat. The anthem flies by in classic Adverts fashion, with punk fury mellowed by a helping of melancholic world-weariness; it’s one of those expansive love songs in which romance escapes the trite ties of pair-bonding and attaches itself to existential equations. Which is to say you don’t need to be in love to love “Auslander.” You need only be alive. – Willamette Week

 

“[POST-PUNK POP] Red Dons’ moddish post-punk has never lacked for melody, but the Dons’ new Dirtnap Records 7-inch might be the Portland quartet’s most comely pop product yet. A-side “Auslander” comes within spitting distance of the five-minute mark without ever threatening to overstay its welcome, which is a rare feat. The anthem flies by in classic Adverts fashion, with punk fury mellowed by a helping of melancholic world-weariness; it’s one of those expansive love songs in which romance escapes the trite ties of pair-bonding and attaches itself to existential equations. Which is to say you don’t need to be in love to love “Auslander.” You need only be alive. – Willamette Week

 

Doom Town featured in The Same New.

“Assim como tantas outras, Doom Town é mais uma excelente banda dos anos 00 que ninguém dá muita bola por aqui… por que? Boa pergunta! Eu sinceramente não saberia responder.

Por fim, o que interessa e que a banda é demais, está na ativa, tá aí pra quem não conhece e se interessou em conhecer, e pra quem já conhecia, poder escutar mais porque vale muito a pena.

A banda iniciou suas atividades em 2010 e em Março do mesmo ano, logo de cara em seu primeiro show, abriram pro Nuclear Family que é uma das bandas paralelas dos caras do Limp Wrist e do Acid Reflux.

Em menos de um ano o Doom Town ganhou grande destaque na cena do sul de St.Louis, contando com Ashley Hohman (baixo e vocal), Ben Smith (Guitarra, vocal e ex Corbeta Corbata), Bryan Clarkson (guitarra) e Shaun Morrisey (bateria) também integrante do Humanoids Fame. Com claras influências dos lendários (Los Angeles) X, e dos suécos do Masshysteri, o Doom Town acaba por fazer um som com uma cara bem garage, parecido com o que o Hex Dispensers faz, só que de uma forma mais “sombria” levando em consideração que suas letras falam sobre fúria, degradação, ansiedade, paranóia e coisas do tipo, tudo de forma bem peculiar, crua e suja.

Em outubro de 2010 eles lançam seu primeiro registro em K7, uma demo alto intitulada e com 6 sons, apesar de gravação meio suja, eu devo admitir que a coisa é indispensável pra quem coleciona ou curte não ficar só no Mp3 e ter o material físico. Não tenho certeza, mas é provável que se você der sorte ainda encontre alguma cópia no discogs.

Em novembro de 2011 o Doom Town lança o primeiro EP 7″ também auto intitulado, que foi produzido pelo Hajji Husayn que toca no Red Dons e obviamente, saiu pela New Dark Ages. Mesmo tendo só 4 musicas (menos musicas que a demo) já fica notória a gravação mais legal em termos de qualidade sonora, as musicas ainda na mesma pegada mas com mais maturidade, ainda que não haja um espaço de tempo grande entre esse registro e o anterior, no total também ficou ótimo. Destaque mais que merecido pra Ashley Hohman que aparece mais nesse EP e destrói tudo nos vocais excelentes. vide “Shrouded in mystery” que na minha opinião é de longe a melhor música do disco.

Ainda em 2011, um mês após o lançamento do EP a banda faz as malas e sai rumo a sua primeira tour européia com 18 shows que foram de Dezembro de 2011 à Janeiro de 2012, no blog dos caras tem um Tour Journal bem interessante sobre a passagem da banda pelo velho continente com fotos, videos e historinhas engraçadas.

Então é isso, deixo com vocês a Demo e o EP dessa banda classe A, que mostra que nem só dos anos 70 e 80 vive o punk. Divirtam-se!!!”

Original Post Here

 

Ricky C Quartet‘s debut 7″ reviewed at the Faster and Louder Blog:

“Remember 10-15 years ago when there were hardly any good English punk bands? Now there are so many great ones that even the “side projects” are freaking phenomenal. Seriously, the current crop of U.K. punk groups has to be the best in at least 20 years. And when members of The Blowouts, Johnny Throttle, and the Ten-O-Sevens start a band based on a mutual love for Slaughter and the Dogs and Radio Birdman, you just know it’s gonna be the balls. The Ricky C Quartet, formed just last year, have dropped their debut single. “Small Species”, another No Front Teeth/Rapid Pulse Records co-release, brings to mind the harder edge of classic Brit-punk infused with a heaping dose of Aussie adrenaline. In short, this band is 100 percent as advertised. Both tracks here deliver some snarling rock n’ roll with pissed-off lyrics and red-hot guitar leads, backed by bass lines that’ll get your booty bouncing. And let’s face it: nobody spews profanity with the panache of the English. A sing-along refrain of “Don’t fuck around me!”, so delightfully acrimonious here, wouldn’t sound nearly as cool if these guys were from, say, New Jersey. Both “Small Species” and “Tonight” imbue a profuse fuck-off sentiment with serious catchiness – a formula that can’t lose when it’s done well. All in all, this is an absolutely ripping debut record. Nothing fancy or unexpected here – just great punk played furiously and brilliantly. Where haveall the boot boys gone?”

Original post here