12.31.2009

Just What I Need

Two decades before the Donnas were doing their best to be the "chick Ramones," we had Nikki and the Corvettes, who, besides cranking out some wonderfully catchy pop tunes, had a front woman who was surely many a punk boy's wetdream. Bomp has reissued on CD the band's sole album -- think of a sexed-up punked-up Shangri-Las, fueled by Chuck Berry guitar riffs -- along with their two singles. You get 16 foot-tappin', head-boppin' songs about boys, "Backsteat Love," and dancing that I think would require a supreme effort to NOT enjoy. Bubblegum punk that tastes as good as it looks. (Soundviews)

Nikki & The Corvettes - S/T

Almost as well-known for its cover (the three Slits are half-naked and covered in mud) as for its music, Cut is an ebullient piece of post-punk mastery that finds the Slits' interest in Caribbean and African rhythms smoothly incorporated into their harsher punk rock stylings. Ari Up's wandering voice (a touch like Yoko Ono) might be initially off-putting, but not so much so that it makes listening to the record difficult. Six tracks are revamped from earlier Peel Sessions and sound better for the extra effort (especially "New Town" and "Love and Romance"). With its goofy charm, gleeful swing and sway, and subtle yet compelling libertarian feminism, this is one of the best records of the era.-(AMG)

The Slits - Cut

Mo Dettes' founder Kate Korus was a one-time member of The Raincoats and The Slits, so it makes sense that the Mo Dettes' sound falls in between those two groups. Korus' Swiss-accented vocals establish a (tenuous) connection with Kleenex, the remaining third of the era's all-female post-punk trinity. The Mo Dettes' angular post-punk doesn't teeter on the verge of chaos like the early Raincoats, though; it is tempered with a melodic flair that anticipates the C-86 style of bands such as Carg Carroll's Miaow, while not indulging the Slits reggae fusion, though the spirit of dub might have informed Jane Crockford's nimble bass playing and June Miles-Kingston 's busy drumming style. The Story So Far, the group's only album, contains a remake of their debut single, "White Mouse," retitled "White Mouse Disco"; covers of the Rolling Stones ("Paint It Black") and Edith Piaf ("Milord"), and mildly divergent cuts such as the jazzy "Kray Twins." Echoes of the Mo Dettes and their post-punk sisters can be heard in new groups such as the Vivian Girls and Liechtenstein. (AMG)

The Mo-Dettes - The Story So Far


1. The Lepers - Flipout
2. Sick Things - Antisocial Disease
3. Ici Paris - Le Centre de Monde
4. Usch - Ito
5. Rough Cut - Danger Boy
6. The Stripes - Week end Love
7. The Questions - Take a Ride
8. Electric Dead - 30 Years
9. Glueams - 365
10. Mary Monday - I Gave My Punk Jacket
11. The Doll - Trash
12. SIB - No One Rules
13. Joy Rider and Avis Davis - Nasty Secretary
14. Anouschka Et Les Prives - Control
15. Tyranna - Back Off Baby
16. Sado-Nation - Mom and Pop Democracy
17. The Reactors - World War 4
18. Sheena & The Rokkets - Omae Ga Oshi


My Girlfriend Was A Punk

12.23.2009

I Don't Like Your Favorite Bands And DJ's

Happy Holidays + New Years and all those good things....


Time Bomb High School is much more than another garage tribute to soulful '60s Brit-rock. But the sophomore effort from the Reigning Sound is something less than the band's minimal, country-folk debut. During knockouts like the Rolling Stones-flavored "Straight Shooter" and "I'd Much Rather Be With the Boys," Greg Cartwright and his Memphis combo's sound is as pure, and as well-grounded, as anything since Exile on Main Street. With 14 tracks, however, the material and arrangements are spread just a little too thin, and too many average tunes are allowed in the mix. A bit of a stylistic return for former Oblivians member Cartwright, Time Bomb High School crackles with raucous garage energy. While nothing like the punk/soul primal scream of the musician/songwriter's earlier days, this disc surpasses any reasonable swagger quota. The Reigning Sound's moody, countrified debut had a relative wealth of riveting numbers, and more conceptual clarity, but this 2002 In The Red title will definitely satisfy Cartwright fans as well as listeners wary of the inevitable post-White Stripes garage posers. - AllMusic

Reigning Sound - Time Bomb High School


THE NAZIS FROM MARS came to Earth on their mission to destroy pop music. Because of some technical difficulties their UFO crashed in Holland where they were captured by alien police. After spending some time in alien camps they finally get to continue their mission. Because they like many different music styles they decided to mix them all together and that's how TECHNO PUNK was created - mixture of TECHNO, JUNGLE and GABBA (HARDCORE HOUSE) BEATS and PUNK in style of RAMONES, MISFITS,... but also some garage trash punk. That's as much as you're gonna get of their biography 'cos they don't like to talk much. Well what else can you say about these girls and guys - they simply hate everything and everybody, so don't mess with them too much or you may end up as one more X-File. - GarageBand

The Nazis From Mars - Nazis From Mars

One of the millions of awesome bands to come out of Detroit. Often overlooked this band has released some of the best powerpop/punk from Detroit. Don't be fooled when KBD says this album only house 3 good songs, I asure you there are plenty of killer tracks on this album. Their track, Don't Come Cryin to Me, along is worth the DL.

You could argue that Detroit was a place where '77 punk never really needed to happen, since it -or something just as loud- had been there all along. The important distinction between Detroit bands and "regular" punk -dating back to James Williamson, Dick Wagner and beyond- is that the songs are all, fundamentally, about GUITAR. Great front-men? Sure. But how do you know it's Detroit? The riffs. (This applies to most Australian "punk" as well, thanks to the Detroit exports in Radio Birdman) Cinecyde sported an extraordinary vocalist in Gary Reichel, but their real trademark was Jim Olenski's dense guitar-work.HypedToDeath

Cinecyde -I Left My Heart In Detroit City Lp

One of the best punk bands to ever come out of Spain and highly inspiration to later spanish band. . A 77punk anarcho band. All tracks on here are pretty amazing even if they do use a drum machine.

Eskorbuto (translation:Scurvy), lived fast and died faster. The band was made up by Jualma Suarez (bass and vocals), Iosu Exposito(guitar, vocals) and Paco Galan (drums) in 1980. Jualma and Iosu both dies of overdoses 6 months apart. They gained recognition in the basque punk circles in the early 80’s thanks to their devastating gigs. Their music was highly inspirational, themes of aggression, dark humor, death and politics were often part of their music.

Eskorbuto - Eskizofrenia

11.26.2009

Before there were Les Sexareenos, The Del Gators, The Hot Pockets, CPC Gangbangs, Smash Up Derby, King Khan & BBQ, Mark Sultan, Almighty Defenders blah blah blah.. there was The Spaceshits.

The Spaceshits - Misbehavin'

Led by Jay Jay (aka Jay Retard) and Alicja Trout (Clears, River City Tanlines), Memphis' Lost Sounds are a glorious mess of punk rock artsiness gone awry in all the right places. Their 2004 In the Red effort, simply titled Lost Sounds, is a punk rock dance party guaranteed to merrily demolish every piece of furniture in the room. But this paranoid rampage is a far cry from the faux-sexy bass'n'drum din pumped out by the likes of Death from Above 1979. "Those things they put inside me/ You know they make me nervous," wails Jay through a cacophonous din of twitchy surf guitars and stuttering keyboards. Elsewhere the band declares that the end of the world is, "worth a laugh." And you get the feeling they mean it.
With a pedigree that includes some of the most raucous noise outfits to emerge from the Memphis scene, the Lost Sounds avoid the traps of by-the-numbers punk or southern-flavored garage rock and instead offer up a sound that is more akin to savage disco. That being said, their adventurous sonic attack is bold and sometimes abrasive. Ample melodies are buried in the din for anyone brave enough to sift through the noise to find them. A danceable disaster, the band's chaotic post-apocalyptic new wave sound explodes from the speakers with a fuzzed-out fury that borders on collapse. Hard to categorize, the sound is something akin to Devo, Liars, Rocket from the Tombs, and the Pixies duking it out to decide who's crazier. Obnoxiously fun, the band is a likely bit of an acquired taste for most. -AllMusic

The Lost Sounds - s/t


This has to be my pick album of the year. Well maybe, I've been hooked on this band ever since I heard of them over them over the summer when they played a free show here in Philly. I can't think of a better album from any other band this past year. So for now this is the best. From the UK The Shitty Limits. The other awesome part is that they have put up all their material online for you to DL. http://theshittylimits.blogspot.com/

"Their DNA betrays an ancestry of 60s garage cavemen like The Monks and The Sonics, late-70s British punk (especially ‘Pink Flag’-era Wire) and early-80s US punk –Red Cross, say. A band of more jellified backbone might, by this point, have shepherded their tunesmith abilities into radio-ready realms for the first label offering them a living wage.The Shitty Limits are better than that, as well as being better than the vast majority of contemporary punk rock." - (N. Gardner-RockSounds)

The Shitty Limits - Beware The Limits

11.15.2009

California Dumb

So Autumns arrived here on the east coast, with it terrible weather, leaves everywhere half the time its wet out, cold... . anyways about the music you guys have all been dying for. Here's a bunch of shit your guys should already have. This is for all those who haven't had the privilege.


Vintage New York punk band 1977-1978. Played with Squeeze, Dead Boys, The Cramps, The Crass. First 7-inch released in October 1977. Played in the New York metropolitan area at Max's Kansas City, The Showplace in Dover, New Jersey, and even made an appearance at CBGB's. Their song "Stitches in my Head' has been covered by Urge Overkill, The Bill Bondsmen, The Anal Babes, and Seattle favorites The RC5. Their song "Dead Heat on a Merry Go Round" was covered by legendary punk band The Defex. Reviewed in Zig Zag, Bomp, Ugly Things, Maximum Rock and Roll. Recently their song "Nicotine Caffeine" was heard on "House, M.D." episode 409 "Games" on Fox. - from their myspace

Alan Milman Sect + Ma-Ka-Zam - Stitches


Some Mexican punk - check it. San Felipe es Punk is possibly the greatest Spanish punk song ever.

Polo Pepo - San Felipe Es Punk


Some Spanish(Spain) pop-punk - check it too.

Los Nikis - La Amenaza Amarilla


Power pop got off to a rocketing start in the '70s and the demand for it, like most genres and styles, dissipated slowly through the '80s. Like most movements, there are some records and bands that were left in the resin, never to be fully acknowledged for their contributions, whether small or significant. Standing in the shadows of other bands from Max's and CBGB's, Milk 'n' Cookies quietly carved their niche on the circuit, but never received their due from mainstream culture. Their eponymous debut is a session hyped up on the sweetest sugar and soda pop, as the group carves out three-minute numbers that are post-glam but foreshadow the emergence of punk. For die-hard collectors of power pop, this album is a welcome treat to even the most seasoned and jaded of ears. And for those hyped up on the modern-day, cookie-cutter, Johnny-come-lately band of the moment emulating the sound of new wave? This is an absolute textbook essential listening experience. - AllMusic

Milk 'n' Cookies - s/t

Saw these guys over the summer, sick garage-punk from Ohio. Be sure to check them out if they come to your town. One of my favorite albums this year.

The Dimeras - Out Of My Head



And just for good measure this. A comp of some of the best 60s garage to come out in Latin America. Nearly every important 60s garage punk band from Mexico and South America are on this; Los Saicos, Los Monstruos, Los Ovnis, Los Gatos Salvages, Walkers, Shakers, Flippers, Monjes, Yakis, Shains, Sleepers and more

Mas Rock'n'Roll 26 Rare 60's Teen-Punk Artyfacts


I'll be taking requests for stuff you want up, and stuff you want re-ups. So holla at me wit dat. ight.

5.28.2009

All Black And Hairy

Well seems like two years ago today I started this blog so I suppose I should celebrate with a post.... Yea its true I haven't posted anything all year I don't know I've just gotten lazy when it comes to these sort of thing. Since I'll be having a lot of free time this summer maybe I'll do more than one post every 6 months. It seems there's several blogs of which I used to follow back in the day that are no longer active.. Chocoreve, O Canadarm, In The Crowd, Lost In Tyme, etc. Hopefully I'll be able to maintain this blog for a long time to come..

First off The Gravedigger V, a 80s garage revival band from San Diego, CA. They do some of my favorite covers of 60s classics such as Hate (The Stoics), Searching (The Omens), Stop It Baby (The Heard), Night of the Phantom (Larry & The Blue Notes) and some others.

The Gravedigger 5 - All Black And Hairy/The Mirror Cracked


If a band ever deserved to be on a label named In the Red, it would be Black Time. They smack listeners upside the head with almost ridiculous amounts of distortion and cave-dwelling reverb -- so much so that it can take a while to get to the snotty, witty garage-punk hiding with the din. It would be easy to accuse a band with such a noisy yet stark sound of repeating itself on each album, but that's not the case: Blackout was more or less straight-up garage-blues-punk, albeit put through a sonic shredder; Midnight World ratcheted the noise up even further and added some art damage; and Double Negative is artfully crude, lightening up on the skronk just enough to let other sounds (and even melodies!) peek through. This might be Black Time's most clearly recorded album, but it's still incredibly harsh, with onslaughts like "Problems" and the fittingly deranged "Institution" proving the band's devotion to distortion. They continue to crank out pissed-off songs in the shape of Detroit garage-punk from the '60s to the 2000s -- there's more than a touch of Stooges howl in "The Days Are Too Long and the Nights Are Too Short," while "Little Death" and "Hostile Cosmos" recall newer acts like the Clone Defects just as Blackout and Midnight World did, but with more focus and energy. As good as they are at reanimating the sounds of their influences, Black Time and Double Negative are at their most exciting when they dive into stranger realms, wielding noise and feedback like Jack the Ripper's knife. With its rave-ups and eerie coda, "When the Clock Strikes Twelve" is as gleefully sinister and anarchistic as anything Screaming Lord Sutch recorded, and carries on that veddy British tradition of spooky garage rock. The brief instrumentals "Lunar Rhythm" and "Lunar Eclipse" nod to bouncy '60s sci-fi kitsch, but the album gets truly eclectic with the rockabilly-tinged ballad "Repulsion" and "Skeleton Factory," which, with its choppy beat and buzzy synths, does sound like something that could rip the flesh off of bones. However, the oddest, and possibly best, song is "I'm Gonna Haunt You When I'm Gone," a lone bright, sweet spot of ghostly indie pop among the rest of the album's pitch-black noise. This is easily some of the band's most varied and most listenable music, but as relatively polished and wide-ranging as Double Negative can be, Black Time never forget to be loud -- their amps always go up to 12 (or is that midnight?). - AMG

Black Time - Double Negative

Kick ass band from New Jersey, one of the best albums I've heard of 2009.
It would make more sense if a majority of the members of Screaming Females were women, but this isn't the case. But the misnomer is quickly abandoned when commanding guitarist, vocalist and sole female of the group, Marissa Paternoster, engages the listener with the wild introductory track, "Bell,” which is the finest track on the record due to dirty, driving grungy guitar parts and Paternoster’s vocals that range from an imposing Joan Jett-esque style to the shriek of a red-tailed hawk. "Skull" demonstrates a bluesy rock vibe with a serious edge and vocals that are comparable to the trademark howls of Grace Slick. Power Move is not an album to be underestimated. It is just as raw as it is original; as beautiful as it is pissed off. - Zachary Ahern-Synthesis

Screaming Females - Power Move

This is for all you straight edge hardcore punk hipster shit indie fuck electro drum and bass fuck tards. One of Mark McCoys many projects.
Virgin Mega Whore - VMW

For all those lucky to see The Mummies on the east coast.. I envy you....


The Mummies/Supercharger/The Wolfmen 7"