|  ABNER
TRIO
“Distant Thunder Of The Sacred Force”
– Joyful Noise – CD
I don’t like Abner Trio. Mostly it’s
because of the vocals. The lead vocals are sometimes
a little whiny, often slurred on purpose…whatever.
The backup vocals are more mid-west preacher-esque;
again…whatever. This is a band that needs
to find a singer and start a quartet. The guitars
and bass are actually pretty cool. The drummer
is pretty good, too, but seems like he’s
just along for the ride. To me, it sounds like
AC (aka Anal Cunt) and Ween possibly influenced
these guys, and they hoped to put a new spin on
things. But, it’s equally possible that
the Abner Trio never actually listened to either
and managed to concoct this disaster all on their
own. (Peter Terebesi)
(Joyful Noise Recordings, PO Box 20109, Indianapolis,
IN 46220)
 BAND
OF HORSES
“Everything All The Time” –
Sub Pop – CD
Sub Pop Records has usually been able to hit it
right on the head when it comes to musical acts.
They’ve always been ahead of the game with
groups like Nirvana, Postal Service, and Hot Hot
Heat. One of their latest groups, Band of Horses,
is a hit or miss risk. Their debut full-length,
Everything All The Time, isn’t
everything it should be most of the time. The
thing that sends this band downhill is vocalist
Ben Bridwell and his often times shaky, unappealing
crooning. At his best, Bridwell sounds like a
second rate Matt Pryor of The Get Up Kids, which
helps draw comparisons between Band of Horses
and Pryor’s latest work with The New Amsterdams,
though Band of Horses lacks the truly artistic
feel found in those aforementioned groups. A more
powerful presentation of his undeniably heartfelt
lyrics would do wonders for Bridwell and Band
of Horses. It’s hard to get excited about
a band that sounds like they’re about to
fall asleep, slumped on their instruments.
Everything All The Time isn’t a total
loss, it can be a good lazy day listen, but it
definitely lacks where so many others have done
it just right. Band of Horses should probably
stay hidden away in their Seattle underground.
(Ryan Brosmer)
 BIGWIG
“Reclamation” – Fearless –
CD
I got Bigwig’s An Invitation To Tragedy
sometime within the last two years, I think, and
I kind of passed the band off as forgettable.
Yeah, they had some sick songs, but they had some
lame ones, too, so another record would probably
not be worth another 10 bucks. So when I popped
this puppy in, I was pretty much expecting the
same kind of record: hit and miss, forgettable.
But I was totally surprised; Bigwig has stepped
it up a lot since the last record. This is good
shiznit. They definitely still have some growing
to do, but I really think this record is awesome.
I highly recommend it. Oh yeah, for those who
don’t know, Bigwig is fast punk with some
elements of metal thrown in. (Kyle
Iverson)
(Fearless Records, 11785 Cardinal Circle,
Garden Grove, CA 92843)
 COUGARS
“Pillow Talk” – Go-Kart –
CD
For the past four years my high school has pounded
into my head the motto, “It's a great day
to be a Cougar!” As for Go-Kart Records
band Cougars and their sophomore full-length release
Pillow Talk, this eight-man band would
be better off going back into hibernation. The
idea of trying to break the mold and explore new
musical avenues should always be encouraged, but
this is almost taking things too far. Cougars
take dueling guitars and frantic vocals and throw
a two-man horns section into the fray and seem
to just hope something coherent comes out. They
fail for the most part. The music itself isn't
that bad, it has what I would imagine could be
considered a “death ska” vibe. That
is, heavy drums and buzz-saw guitars with the
horns in the background. Pillow Talk was recorded
on analog tape, which is cool for obtaining that
old gritty punk rock sound, but when the vocals
are barely audible, the upgrade to a digital format
might not hurt. Not to mention, the horns seem
so far off in the distance. Cougars have created
a musical traffic jam nightmare with Pillow Talk,
one that is nigh impossible to navigate in any
coherent manner. It's best to go around this album.
(Ryan Brosmer)
(Go-Kart Records, PO Box 20, Prince Street
Station, New York, NY, 10012)
 CUE
THE DOVES
“Architectures of the Atmosphere”
– Dead Letter – CD
Architectures of the Atmosphere is a
loosely space-themed, umpteenth-generation post-hardcore
disc with a somewhat gothic vibe. The drumming
is sloppy, the vocals are all over the place,
and the recording quality is muddy. A consistent
overuse of guitar effects creates a poorly crafted
atmospheric feel, while the mid-tempo songs seem
to be stuck in an immobile state: they never go
anywhere interesting, or even exciting. Heavier
breakdowns on songs like “Course One: The
Abductions” shifts the pace of the disc
as singer Ryan Von Bergen lets out a good scream
or two (similar to the opening of “The Red
Planet Falls”), but even this diversification
does little to help. Better production and less
goddamn guitar effects would definitely improve
the disc, but, until then, steer clear. (Zach
Gajewski)
(Dead Letter Records, PO Box 17882, St. Paul,
MN 55117)
 DAZY
HEAD MAZY
“Acoustic Cities” – self-released
– 2xCD
Dazy Head Mazy sounds like 1997 — the height
of the post-grunge bands, which was then stereotypical
radio rock, which does not come off as such a
good thing. With their fast paced acoustic songs
and vocals that sound extremely like that of the
Barenaked Ladies, Dazy Head Mazy’s Acoustic
Cities would be good for providing nostalgia of
this time and little more. Also, being a two-disc
set with a total of 24 tracks, the album drags
on too long and becomes extremely redundant, especially
when it is a standard four-piece band always using
acoustic guitars. Dazy Head Mazy should have scrapped
about half of these songs and picked the twelve
best. (Alex
Murphy)
(no address provided)
 FIGHTSTAR
“They Liked You Better When You Were Dead”
– Deep Elm – CD
One of the best of the batch this time, Fightstar
has a tight and mature sound. No missteps or poorly
executed performances among the tracks. Check
out my personal favorites “Amethyst,”
“Lost Like Tears in Rain,” and “Cross
Out the Stars.” I think they have successfully
carved out niche within post-hardcore that will
serve them well. (Cynthia
Gayton)
(Deep Elm Records, PO Box 5260, Clover, SC
29710)
 FOR
THOSE LOST
“This is our Fight” – Engineer
– CD
Engineer Records touts For Those Lost as being
true “cross-over kings.” That is true,
in their ability to blend a blaring cacophony
of metal and hardcore. And that's about all they
get right. This is our Fight starts off strong
with “I Smile at Your Terror,” and
quickly loses pace in the race to keep up with
the shifting styles. They take elements of Bane,
Snapcase, and Agnostic Front and bastardize it
into a failed attempt at conforming to multiple
genres at once. This is our Fight seems
to come together better during the latter half
of the album. There are times, like on the track
“Case Against You,” where the band
manages to hold things steady long enough for
rather sweet guitar solo/interlude. This is found
a few more times in the later tracks. Overall,
there isn't much on This is our Fight
that can't be found elsewhere in a more refined
and fulfilling form. (Ryan
Brosmer)
(Engineer Records, 210 William Street, Boonton,
NJ 07005)
 GIL
MANTERA’S PARTY DREAM
“Bloodsongs” – Audio Eagle/Fat
Possum – CD
I’m more accustomed to hearing quality blues
music coming from an album on Fat Possum Records,
and Bloodsongs ain’t the blues no matter
how you skin it. Put together by Gil Mantera and
Ultimate Donny, this release mixes electronica
beats with bass, vocals, and guitar to create
music that you would expect to hear in a dance
club full of purple lights and a coked-out clientele.
Some of the blips and loops are interesting. I
don’t really care for Gil’s singing.
In fact, I’d prefer the music a lot more
if he weren’t singing at all. Gil’s
voice has that desperate ‘80s, fist-clenching
ballad sound that makes me just want to shake
him silly. Get over it, man! She isn’t worth
it. (Sean Lambert)
(Fat Possum Records, PO Box 1923, Oxford,
MS 38655)
 GUTBUCKET
“Sludge Test” – Cantaloupe –
CD
How can I sum up a band that sounds like everything
from Ornette Coleman to Black Sabbath all at once?
This could be art-rock. This could be jazz. Whatever
it is, Gutbucket rolls through horn-heavy klezmer
scales as easily as jumpy baselines ripped from
Deep Purple sound charts without apology. It is
interesting to note that this quartet interprets
a part of a piece written by Oliver Messiaen in
1941 while he was in a Nazi Prisoner-of-War camp.
I can’t accuse them of not digging deep
for material! Would Gutbucket exist without a
guy like John Zorn paving the musical path towards
this kind of musical cluster-fucking? No, definitely
not. Sludge Test is weird, compelling
fun and a bit too much to expect anyone to digest
the 10 tracks all at once. Well, maybe not. I
don’t know anymore. There are some people
that really get off on these obscure, wonky recordings,
marveling at technique, innovation, willingness
to combine forms, sounds, etc. There’s only
so much I can take before I either want to rock
out or throw some, say, Art Pepper on the hi-fi
to get lost in pretty phrasing. Gutbucket runs
everywhere between these two impulses. I bet they’re
super loud live and could clear a joint real fast
if they wanted to or compel folks to stick around
for entertaining antics and irregular noise. (Sean
Lambert)
(Cantaloupe Music, 80 Hanson Place, Suite
702, Brooklyn, NY 11217)
 HAWTHORNE
HEIGHTS
“If Only You Were Lonely” –
Victory – CD
Just to clarify, I strongly disliked HH’s
first album. Not just because that is the cool
thing to do, hate on bands that make it big, but
because I thought it was a piece of crap. So,
I tried my best to not bring my dislike of the
band’s previous album into the review of
this one. If Only You Were Lonely is
an album by a very poppy band, and it is safe
to say pretty much every song on the record is
about girls. Girls just don’t understand
how Hawthorne Heights feel about them, apparently,
and they really really want them to understand.
This is definitely not my cup of tea, but if you
are under 12 years old, this is probably right
up your alley. Certainly, no new ground is being
broken here, but did you expect new ground broken
by this band? Maybe get this for your younger
sister, or if you have hair swooped over one of
your eyes right now, and you are wearing dark-rimmed
glasses and an argyle sweater you found at the
Salvation Army and listening to the new Fall Out
Boy CD, you’ll probably love this. I will
pass though. (Kyle Iverson)
(Victory Records, 346 North Justine, Suite
504, Chicago, IL 60607)
 HOME
AND GARDEN
“History and Geography” – Exit
Stencil – CD
If you enjoy tripping on peyote, acid, or mushrooms,
and you simply need a soundtrack to your wild
ride, Home and Garden might be for you. I personally
don’t do hard drugs and in the same manner
I do not enjoy Home and Garden at all. If you
have never heard this band (as I had not until
recently) you are not missing anything. As far
as History and Geography goes, imagine
semi-psychedelic, dissonant and trippy guitar/synth
instrumentals, held loosely together with a very
standard drum pattern. Then the cherry on top
is some creep-o dude reading his lame poetry at
you. If you’re lucky you might catch some
peaceful ocean background noise, such as in the
first track, and you might be carried away from
this strange interpretation of what some call
music (remember this is just an interpretation).
Don’t get your hopes up though because by
track four your ears will be invaded by eerie
circus music about monkeys. If you don’t
habitually try to escape reality by using hallucinogens,
I do not recommend this album. (Jordan
Humphrey)
(Exit Stencil Recordings, 5304 Detroit Ave.,
Cleveland, OH 44102)
 THE
LONG WINTERS
“Putting The Days To Bed” –
Barsuk – CD
This LP has a very good chance of being picked
up by a lot of teenage kids, and will definitely
give them something to talk about at the lunch
table the next day. While a lot of bands write
songs of major events in ones life, whether they
be happy or sad, The Long Winters do exactly the
opposite. They write songs about all of the occurrences
in between those two major events, all of the
little things that help you mature and define
you as a person. With all of the negative messages
the youth may be exposed to today, a band with
a positive message about growing up is very welcoming.
And hell, the instrumentals are good, too. If
you’re looking for something to come home
to listen to after a stressful day at school or
work, it sounds like this is the release for you.
And that is just what this album is, a mellow-down
of sorts, and a very impressive release. (Jonathan
Pack)
(Barsuk Records, PO Box 22546, Seattle, WA
98122)
 MDC
“Magnus Dominus Corpus” – Sudden
Death – CD
The ageless MDC have a new album out, and it’s
full of activist commentary and snide humor. Nothing
much has changed since the ‘80s, when they
released Millions of Dead Cops and More
Dead Cops, except that the new target of
their anger is Bush instead of Raegan, and they
actually can really play their instruments. Don’t
get me wrong, there are some ‘80s-era classics
— “John Wayne Was a Nazi” remains
one of my all-time favorite punk rock tunes —
but after a while, those tracks just blend together,
indistinguishable from one another. The musical
proficiency on Magnus Dominus Corpus
leads me to believe that, unlike a lot of punk
bands that just won’t let it go, MDC are
on top of their game. This album is worth owning
for the final and 18th track alone, “Ballad
of GW.” (Jackson Ellis)
(Sudden Death Records, Cascades PO Box 43001,
Burnaby, BC V5G 3H0 Canada)
 THE
MUGSHOTS
“House of the Weirdos” – Crypt
of Blood – CD
”The Mugshots play ELITARIAN UNDEAD ROCK
exclusively,” says their album insert from
their first full-length release House of the
Weirdos. Dictionary.com can’t tell
you what elitarian is and neither can I, but I
can tell you that the Mugshots are a sort of David
Bowie meets the Misfits throw back band, with
the haunting flair of an Alice Cooper show pulled
into the mix. If you are into the whole Halloweenish
theatrical thing, the Mugshots might catch your
interest. The artwork is pretty cool, but I think
the songwriting and singing ability is lacking
on this record. Some of the songs get you tapping
your feet and would be fun background music at
a Halloween party or something, but other than
that I’m not really feelin’ it too
much. (Jordan Humphrey)
(Crypt of Blood Records, no address provided)
 THE
NILLAZ
“Home Wrecker” – Place Holder
Records – CD
This was the first CD I looked at because the
colors are so vibrant – orange, blue, white
and black – destined to draw my attention.
The CD doesn’t disappoint. Accurately marketed
as a “next generation Beastie Boys,”
the band effectively uses electronic hooks and
loops to create an authentic and original sound.
If you are looking for politically correct or
sensitive lyrics, though, you won’t find
them here. (Cynthia Gayton)
(Place Holder Records, no address provided)
 RAISED
FIST
“Sound of the Republic” – Burning
Heart – CD
Combining the in-your-face, monotonic screaming
of the old punk era with the more produced sound
of new wave metal, Raised Fist is definitely a
band I have never heard anything else like. I
think there is a lot to be said for melody, which
is simply nowhere to be found on this album. Whereas
bands like Unearth can really pull off monotonous
screaming because their drum, bass, and guitar
parts are so melodically orchestrated, Raised
Fist falls off a bit However, I must give huge
props to the energy this band brings to the table.
I would love to check them out live, but I’m
just not that into the album. If you are a punker
you can definitely skip this disc, but if you
are from more of a nu-metal background I would
say check it out. (Jordan Humphrey)
(Burning Heart Records, 2798 Sunset Blvd, Los
Angeles, CA 90026)
 GARY
REYNOLDS & THE BRIDES OF OBSCURITY
“Instant Happiness” – Electrokitty
– CD
Instant happiness? More like instant cure for
insomnia. Reynolds and his Brides have managed
to throw together a collection of some the most
boring, disposable pop tracks that anyone has
ever put on a CD. There is nothing original to
report on this album. It is basic piano-driven
power pop that usually feature gruff vocals, good
piano, and redundant backing music that goes from
anywhere between ‘80s metal and blues rock
that has been done before and usually done better.
The gruff vocals add a new element to the whole
piano pop theme that is simultaneously helpful
and detrimental to the album, with the roughness
either adding to the music or utterly destroying
any melodic element that it once possessed. There
is one song on here, “Here We Go Again,”
that does stand out as being an amazing track
and a glimmer of what this album could have been.
“Here We Go Again” has a sort of John
Lee Hooker meets Ben Folds feel to it with what
are the best lyrics on the album. Other than that
track, this album comes very close to being the
tapioca pudding of music: an album with a distinct
flavor that isn’t strong enough to scare
anyone away or attract anyone to it. A rather
boring and sometimes pretentious album. (Garrett
Lyons)
(Electrokitty Records, no address provided)
 RYE
COALITION
“Curses” – Gern Blandsten –
CD/DVD
Is New Jersey in the house? I can’t hear
you! Is New Jersey in the house? Fuck, yeah! Rye
Coalition, a band that has been pounding out straight-up
rock ‘n roll for over a decade and has toured
whenever there’s money enough in the swear
jar to buy a tank or two of gas, has put out a
stellar, frenzied release worthy of the highest
praise. Of course, it doesn’t hurt that
rock royalty Dave Grohl decided to produce the
thing and even backs the band with some vocals,
percussion, and guitar work on a few very tasty
tunes. Make no mistake, however, Rye is in the
driver’s seat from the opening balls-out
“Pussyfootin’” to the closing
“Achilles’ Wheelchair,” dripping
with a reckless abandon reserved for those few
musical mavens that have earned their place atop
the heap of cheap imitators and less-than-dedicated
weekend warriors. Step aside, you feeble-kneed
mama’s boys, leadman Ralph Cuseglio howls
through “Burn The Masters” and “Cigarette
Catastrophe,” stunning any listener that
he’s got enough left in the pipes for the
following aptly titled “Young Yellers.”
“Clutch The Pearls” never lets up
long enough during a sweet mid-song tempo break
to doubt that these guys brought their A game
for each and every tune. Don’t expect an
easy ballad, as Justin Morey’s bass-driven
“Secret Heat” is the closest thing
to romantic that you’re going to get. “True
Love By The Hour” begins soft (the way you
want it) and ends up nice and rough (the way you
need it), further showcasing Rye’s masterful
use of an oft-repeated catchy chorus underpinned
by the clockwork drumming of Dave Leto. What are
we left with? “Tequila Mockingbird (P.T.E.)”
lands these guys closer to the catalog of AC/DC
than a humorous take on the literary leanings
of Harper Lee. “Between An I-Roc And A Hard
Place” and “Vietnam Veterinarian”
allow Herb Wiley and Jon Gonnelli to flex their
chops with more concise, flashy licks, establishing
the true guitar centered sound that is the basis
of the band’s magic milieu. We’ve
got the sex, we’ve got the rock and the
roll, so “Cocaine Werewolf” clearly
covers the final ingredient of a highly anticipated
musical masterpiece put out by a bunch of rag-tag
Garden State boys that refuse to ever call it
quits. Also included along with the album is a
revealing documentary by the daring and dedicated
underground filmmaker Jenni Matz that captures
Rye Coalition at their best and worst both on
and off the stage, curses be damned. (Sean
Lambert)
(Gern Blandsten Records, PO Box 356, River
Edge, NJ 07661)
 SMOOSH
“Free to Stay” – Barsuk –
CD
Barsuk Records is breathing a little youthful
vitality into the music scene with Smoosh. The
band is a piano and drum sister duo. Chloe on
drums and Asya on keys, are 12 and 14 respectively.
Their Barsuk debut, Free to Stay, reflects
the experience these two have gained in their
short lives. With Jason McGerr of Death Cab for
Cutie as a drum teacher and tours with Jimmy Eat
World and Mates of State, Smoosh have learned
what it takes to be heard, and Free to Stay is
full of a fresh indie sound. The simplicity of
only piano and drums (with the occasional background
guitar and bass) allows each sister to shine and
gives plenty of room for Asya's remarkably mature
voice and lyrics. The young piano prodigy balances
driving musical melodies with crooning vocals
reminiscent of Eisley. Smoosh takes the best of
Fiona Apple and blends it with their own modern,
slick style. Free to Stay manages two
keep 12 tracks composed of only two instruments
and two young girls original the whole way through
and shakes off any suspicions of Smoosh being
a novelty act or gimmick. Free to Stay is a perfect
listen for fans of Death Cab for Cutie, Rilo Kiley,
and Sleater-Kinney. (Ryan
Brosmer)
(Barsuk Records, PO Box 22546, Seattle, WA 98122)
 SO
THEY SAY
“Antidote For Irony” – Fearless
– CD
Lately I have pretty much been listening to DJ
Jazzy Jeff & The Fresh Prince and Elton John
— let’s hope it’s a phase, right?
The point is, I haven’t listened to pop-punk
for about a month. So I decided to get off my
lazy ass and start writing some reviews and I
started with this record. I gotta say, it was
kind of a breath of fresh air. I mean, So They
Say is pretty standard pop-punk, songs about girls
and all that shit, but I really liked it. It might
have just been the fact that I haven’t listened
to any of this style of music in a long time,
which is a big possibility, or maybe this is a
good record. I think it is a little of both. Plus,
on the Punk Goes ‘80s CD, they did a sick
cover of “Forever Young.” This record
is pretty cool. Nothing new, but cool. (Kyle
Iverson)
(Fearless Records, 11785 Cardinal Circle,
Garden Grove, CA 92843)
 THE
SOUNDS
“Dying to Say This to You” –
New Line – CD
Everyone is raving that this female-fronted Swedish
rock revival is the next big thing. I'm just not
hearing it. There is a definite hook in their
music that could cause a little swagger in anyone's
step. The problem lies in the overall delivery
— vocalist Maja Ivarsson is just bland and
monotone. There seem to be hints throughout their
entire album Dying to Say This to You that Ivarsson
has the potential to expand her vocal range, but
fails to reach any new heights (or lows for that
matter). The Sounds seem to be trying too hard
to meld an indie sound with Swedish punk hearkening
back to The Hives, just with less energy. The
glistening moments of piano are lost amongst the
aforementioned shoddy vocals and simply awkward
moments of synth and samples. It becomes unclear
at times if The Sounds are shooting for indie
obscurity, garage rock, or simply a dance party
medley. It's the kind of incoherence that just
plain ruins things. This could have been a much
better album with better vocal work and if they
could learn to pull things together. (Ryan
Brosmer)
(New Line Records, 157 Chambers St. 12th Floor,
New York, NY 10007)
 SUBMACHIN3
“Off The Rails: Loose At The Moose”
– Da’ Core – DVD
Well here’s a chunk of my life that I am
never going to get back again. I think that I
am actually dumber for having sat through the
live DVD. Huffing glue and watching Gummo might
actually be a better time than this sad excuse
for a band. Submachin3 claims that “their
only goal was to drink, play, and inspire you
to hurt yourself.” Well, like a dirty smoker,
you are hurting yourself every time you listen
to Submachin3. I am fully convinced that listening
to, or watching, Submachin3 play will cause cancer
and birth defects over the long term. Oh, that’s
not a compliment. I know that the morons that
fill the shoes of this five-piece pack of dimwits
will think that it is, but trust me, it’s
not. They should have said, “Our only goal
was to drink and play for other morons who stand
around in a drunken stupor nodding to each other
as if they recognize one of our songs from another
one.” This is the most uninspired, boring
set I have ever sat through. The Moose is a shitbox
bar that appears to be vacant except for the small
cluster of crusty, scab-riddled goof-offs who
actually paid money to see this band. For all
their booze talk, was anyone even buying drinks?
I don’t see any evidence of it in the DVD,
other than the band, who do some showing off with
a bottle of something forgettable. It’s
been my experience that punkers show up at a show,
try and sneak or whine their way past the bouncer,
then pool their money to buy three pints of shit
draft beer, passing it mitt to mitt, greasing
their slimy mouths all over it. Maybe they get
a buzz, maybe they don’t. Whatever, they
get to be seen at the show, right? Huh-huh, cool,
Butthead! Huh-huh, cool, Beavis! I bet the bar
staff took seventy-five cents and a couple of
cigarette butts in tips that night. Wait, I take
that back — punkers can’t afford smokes,
so they would have kept the butts. This is an
end of the line show for a band that stalled from
the get-go. I don’t care if they’ve
toured and played forever, this band is horrible,
boring, sad, tripe gobbled up by skids who have
nothing better to do than go see Submachin3 at
the local gin mill. Seriously! Who would have
heard of this shitty band if I hadn’t just
written this? This whole show puts me in a bad
mood. (Seth Gotro)
(Da’ Core Records, 4407 Bowes Avenue,
West Mifflin, PA 15122)
 THE
UNKNOWNN
S/T” – self-released – CD
Let’s imagine Evanescence and the Postal
Service had a baby (somehow in magical band land),
and named it The Unknownn. That, in short, is
exactly what The Unknownn is, as they fuse pretty-yet-powerful
female vocals with smoothed out techno that could
be considered borderline industrial. The overall
feel to the album is somewhat of a downer, and
the songs that are more upbeat are a bit too “bubblegum
poppy” if you ask me. (Alex
Murphy)
(no address provided)
 V/A
“Give ‘Em The Boot V” –
Hellcat – CD
Streetpunk’s the word for this fifth installment
of Hellcat’s popular Give ‘Em
The Boot series. If you’ve dug the
past four, you’re sure to dig this one as
well — contributors include Rancid, Dropkick
Murphys, Tiger Army, Horror Pops, Lars Frederiksen
and the Bastards, and a ton of unreleased material
from The Unseen, Roger Miret and the Disasters,
Left Alone, and Orange. Eighteen tracks, cheap
as dirt — can’t go wrong. (Jackson
Ellis)
(Hellcat Records, 2798 Sunset Blvd., Los Angeles,
CA 90026)
 YEAR
FUTURE
“First World Fever” – Gold Standard
– CD
Repetitious tracks all seemingly in the same key,
and absent the cool graphics on the CD cover,
I haven’t much to recommend about this band.
(Cynthia Gayton)
(Gold Standard Laboratories, PO Box 65091,
Los Angeles, CA 90065)
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