Reviews

D. Gregory

Evening Standards The Shining LP

Nice indie pop from Gainesville, FL by way of Bloomington, IN. There is a familiar lineage in the sounds here, but said sounds are delivered squarely through a 2024 lens. By that, I mean certain bands and labels of the past two decades will come to mind while listening—LEMURIA, RUN FOREVER, PLACES TO HIDE—but the proliferation of Americana and alt-country can be found peppered throughout these tracks as well. In fact, it’s those tracks with slide guitar (“Family Man”) or the dual vocals and harmonies (“Exploding Head”) that stand out the most here, because they do feel like they are attempting to tread new ground. The tracks that follow the more traditional-sounding indie/pop punk template tend to wash over without leaving much of an imprint (“Edgelord”). EVENING STANDARDS relocating to the home of The Fest and No Idea Records makes a lot of sense, and I hope they keep exploring open chords over power chords, especially if it means more tracks like the album’s closer “Mountain Top.”

Loose Lips One More Chance EP

Featuring members of the PRIZE, the CHATS, and CHUBBY AND THE GANG, I was definitely set up with high expectations and interested in what sound might win out in that wild game of rock, paper, scissors. Fans of any of those bands will be excited to hear these songs, and I think the classic punky power pop sounds of the PRIZE jump out first. One thing here which helps differentiate this EP from the sounds made in the members’ other projects was the splash of bar boogie, especially in the track “Told You So.” And while I don’t think these tracks vastly outshine their other projects or anything (at least in this first offering), I imagine they had a blast putting these songs together, and that energy definitely shines through. Would love to hear how this project might evolve further in the future.

V/A Degenerates and Dickweeds cassette

Thirteen tracks from thirteen different artists around the world, compiled for this release from Nashville, TN-based cassette label Knuckles on Stun. Plenty of snotty, synthy egg sounds to be found here. If you’ve checked out anything from Under the Gun, Goodbye Boozy, or the Australian synth punk scene, you’ll easily find things to dig here. As these are previously unreleased tracks, not every one is a highlight, but highlights are indeed here and ready to be discovered. Early standout “Drooler” by GARBANZO is a fantastic GEE TEE-sounding ode to some beloved mouth-breather, and “Normal Afternoon” by MEDIA PUZZLE is a great one-minute sugar rush. This collection whizzes by quickly, given the nature of the sounds, and makes perfect sense for a cassette release.

The Rebel Set Bummer City LP

It can feel trite to describe something as “fun,” but as soon as this record kicked off, I was having a good time. The REBEL SET plays surf rock filled with awesome organ sounds, tons of handclaps, and reverb-soaked guitar solos. The energy stays high throughout the eleven tracks that comprise Bummer City, and each individual track tends to fly by. I think the vocals could be a bit more dynamic, but that’s just a personal preference; heck, so much great surf rock doesn’t even have vocals, so it’s cool that that’s not the case here. Fans of garage rock in the vein of the MYSTERY LIGHTS and other Wick Records sounds will feel right at home here as well.

V/A Palestine Solidarity Compilation, Vol. 2 cassette

The second volume in an ongoing series of compilations to help raise funds in solidarity with Palestine. You get 27 tracks from 27 different artists contributing unreleased demos, covers, and live versions of songs, so you already know there is great diversity of sounds to be had, and new gems to uncover from bands like SPREAD JOY, CITRIC DUMMIES, SICK THOUGHTS, URANIUM CLUB, and more. The content that makes up this compilation doesn’t matter that much, even though it is a great collection to be sure. But the content as a vehicle to try and help others is and should be the focus here.

Freak Genes Delirik LP

New industrial-drenched synth punk offering from FREAK GENES out of the UK; their sixth record thus far. I love that this was released by the imitable Feel It records in Cincinnati, because while on the surface it sounds quite different than SWEEPING PROMISES, MAN-EATERS, or CITRIC DUMMIES, there is a distinct energy and attitude that makes the record feel right at home next to the rest of the roster. There is a fantastic pacing and variety to be found in these twelve tracks, and even if “industrial synth punk” isn’t your comfort zone, allow yourself to step outside that zone and digest these sounds. By the second track alone, you encounter a pulsating standout track in “Clear in the Night,” with other highlights (“Neoware,” “Forgotten Gods”) paced out nicely throughout the remainder of the exciting run-time.

The Long Gones Long Way Home EP

Trying to sound like the STOOGES can be a great thing, and naming your band (presumably) after a classic CUSTOMS single can be a great thing. The LONG GONES seem to have done both, but unfortunately nailed neither. The A-side is a mid tempo affair that plods along and greatly overstays its welcome, while the B-side takes two more swings at garage rock which also miss the mark. There seems to be a desire to give the impression of “drugs, sex, and rock’n’roll,” but there’s no real danger here, no spontaneity. I wanted Raw Power, but was instead served burnt infirmity.

Dezinformacije Pijesak u Oči cassette

Croatian egg-punk via the Fort Myers, Florida-based Xtro label. This is six tracks of high-energy, all-gas-no-brakes, synth-laden freakouts, a twelve-minute sugar rush after-hours. The short runtime plays to the band’s favor here; much longer and a cavity might set in from just too much of everything. It’s fitting that the last track translates to “Electric Orgasm,” because that really seems to illustrate what is happening here. The build-up is fast, the pace is almost unsustainable, and the result is an explosion of synth, guitars, and wails all over the place.

Food Fight Zeitgeist Impressions LP

Absolutely stellar power pop out of France. Sounding like Joe Strummer fronting a mod revival band, these twelve tracks are truly top-tier. I was pulled in from the jump with the call-and-response of “What’s Wrong?” and locked in till the end. Truly surprised to find this their debut full-length; it’s clear that this group is made up of veteran musicians who know their way around a three-minute tune. There was also clear attention given to the sound on this record, as the bass tones are so clean and warm, the group vocals sound so full of life, and the guitars are crisp and bright. If you dig the 101’ERS, PROTEX, the NIPS, or any notable ’70s punk, this album will feel familiar. One of the finest albums in a minute, Zeitgeist Impressions is an absolute standout.

Tube Alloys Evil Angels / Lizard Kingdom 7″

TUBE ALLOYS return on the heels of last year’s fantastic debut album with a double A-side single for their most recent US tour. These tracks are taken from the same material that became Magnetic Point, so if you dug their debut, you’ll be drawn to these tracks right away. Both tracks here are stellar post-punk. “Evil Angels” is stocked with a propulsive bass line, wiry guitars, snotty vocals, and a brilliant sense of urgency. “Lizard Kingdom” is more post-punk, but you can feel the krautrock seeping in from all sides with its repetitive, almost droning instrumentation, not to mention its brief sample of TRIO’s classic “Da Da Da” to kick things off. Top-tier stuff, as you might expect from the always reliable La Vida Es Un Mus.

Eyes and Flys All the Tigers in Texas / Seabird 7″

The two-song single can be the ultimate medium to tell potential listeners exactly what your band is about. There’s no world-building, no narratives attempting to be woven, just a single and its flip. The perfect format. And EYES AND FLYS definitely seem to feel similarly, as this single follows the given mold, but it’s only in theory. The A-side is the rocker, the B-side the more exploratory side. As soon as the needle drops, you get what this band is about. Nailed it. The A-side “All the Tigers in Texas” does indeed hit the ground running with fast guitars, dual shouted lyrics, and energy that jumps out of your speakers, but for me, it seems to run out of breath before getting to any destination. The song feels like it’s going to culminate into something awesome, given how strong it starts. Instead, it just slowly comes unwound in a wash of guitars, like they went in without an ending and it just stayed that way. In theory, this EYES AND FLYS single is how the medium is done. In practice, I’m still not sure what this band is going for, even after multiple listens.

Stiv Bators It’s Cold Outside / The Last Year 7″ reissue

Munster reissue of this stone-cold classic from STIV BATORS. Originally released by Bomp! in 1979, “It’s Cold Outside” is a cover of the garage classic by the CHOIR, but BATORS’ version takes the song to new heights. If you’re not already familiar, and late ’70s Bomp! didn’t already give it away, this is apex power poppy punk music. The B-side, while not a classic on the level with the A-side, is a lovely, contemplative tune that continues the sounds of its respective flip. I’m not exactly sure if this record was in dire need of a reissue, as copies aren’t exactly tough to come by, but Munster always does a nice job with their releases so I’m not here to question. If you don’t have an original copy, now you have no excuse not to snag a copy and fix your oversight.

Die Verlierer Notausgang LP

Absolutely stellar post-punk out of Berlin. What struck me the most on the first listen was how varied the songs are, in both style and length, while still maintaining a common overall sound and feel. In that way, this record almost reminds me of being at a label showcase—the bands might not all sound the same, but you get why they are all there. Noutausgang opens up sounding like early Finnish new wave, then follows that up with a longer, moodier groove, and then turns again on the third track with an early highlight in the group shout that is “Fickt Diese Stadt.” The theme of variety continues throughout with a sub-two-minute hardcore track (“Albtraum”) giving way to the near-six-minute smolder of “Stacheldraht.” If you dig post-punk, new wave, Neue Deutsche Welle, or krautrock, you’ll easily find something to like here. And if the current song doesn’t quite do it for you, the next one might just snap you right back to attention.

Bzdet Maybe It Is Enough? cassette

A solo synth punk project out of Poland with a handful of releases already put out, BZDET offers up its first US release through the Buffalo tape label, Tetryon—this compilation includes tracks the artist has found to be the most important work of the project so far, as well as three previously unreleased tracks. The album comes out of the gate sounding like NEW ORDER meets MOLCHAT DOMA, but with twenty songs here, the sound expands and explores plenty within that synth punk umbrella. What sets this apart from other synth punk stuff is that, even if you don’t speak Polish, you can tell there is a humor and playfulness that stays bubbling just below the surface (exemplified by the closing track “I Don’t Need Viagra Boyzz,” one of two titled in English). That’s not to say these are typical egg-punk offerings, but rather that the music doesn’t come across as too polished for its own good, just Polish and good.

V/A Thesaurus, Vol. 7 2xLP

Cameleon continues to dive deep into rare and/or unreleased French tunes and share their spoils with the world. Here we’re treated to 30 such tracks from 25 different artists, all originally recorded between 1978 and 1986. As you might expect, there is a big variety to digest here, and while not every track is an absolute highlight, all are at least pretty good or interesting. The comp starts with a few straightforward punk numbers, veers into some great post-punk moments, and even throws in a live cover of the RINGS’ “I Wanna Be Free.” It feels silly to dig into specific bands and songs when there are so many on the comp, but a big standout for me was “Pay The Bill” by MOKOS—a fantastic track with tinges of power pop all over the sub-two-minute runtime. The songs seem fairly split down the middle between being sung in English and in French, which also helps keep things fresh when presented with so many tracks. Cameleon often reinforces their strength one rescued 7” at a time, but this comp serves as a pleasant reminder that they can please at length just as easily.

The Stiffs Demos and Rarities 1978–81 LP

The STIFFS were a punky power pop band out of Lancashire, England who put out a handful of damn-near-perfect singles in the late ’70s to early ’80s. As is often the case, there were a bunch of other songs from that early era that were previously unreleased, but luckily Projectile Platters have compiled those demos and rarities together and released them here on this LP. We only get a couple demos (the brilliant “Inside Out” and the lesser “Over the Balcony”), and they are pretty fleshed-out versions of the songs they would ultimately become. The big draw of this compilation, for me at least, is the 1979 radio session; in this stretch we get tight, loud, and energetic versions of “Brookside Riot Squad” and “Kids on the Street,” plus a couple others. These types of collections can often be curiosities at best, but this offering is for more than just the completists or those that are still on the hunt for an original copy of the “Standard English” single. This is an awesome snapshot in time of an early punk band in their prime, doing it better than most did or ever will.

Alien Nosejob Turns the Colour of Bad Shit LP

The prolific Jake Robertson returns once again with a new slate of fantastic songs via his ALIEN NOSEJOB project, and continues to surprise by pushing into new sounds. This time around, Turns the Colour of Bad Shit offers up ten tracks of classic punk greatness. And what is true in the macro is true in the micro, as the sounds on these tracks even find ways to change and evolve from one to the next. Kicking off with the slow yet propulsive burn of “Bird Strike,” the record then flips right into the pummeling garage punk highlight of “Trapped in Time.” Anyone who loved this year’s fantastic PACK RAT album will be more than happy to toss this record on right after; snotty lyrical delivery coupled with primitive song structures that don’t need any other add-ons to grab your attention. It’s no wonder that Turns the Colour of Bad Shit is being put out by the trifecta of Total Punk in the US, Drunken Sailor in the UK and Anti Fade in Australia.

Tuxedo Cats Fake Punk EP

TUXEDO CATS, a power punk outfit out of Brooklyn, return with their second four-song EP. With an increased velocity compared to their solid debut Out of the Bag, the tunes here on Fake Punk burn bright and burn fast. At first listen, one might think the influences here can be plucked out easily, but on multiple listens, the breadth of their taste really starts to unfold. Fans of Good Vibrations records, ’70s Belgian punk, the NEW YORK DOLLS, or simply spending an inordinate amount of time in record shops will all find plenty of satisfaction here. While all these sounds may read as all over the map, literally, TUXEDO CATS seem effortless in their ability to blend a litany of influences. And I’d be remiss not to mention “Jaguar K-11,” a scorching, one-and-a-half-minute ode to the folding knife, as one of the very best B-sides I’ve heard this entire year.

The Makebelieves Someone Threw a Tiger Out the Window LP

A re-release of the MAKEBELIEVES’ 2004 album, including a bonus track appended to the end, Someone Threw a Tiger Out the Window is twenty minutes of MC5 and STOOGES-style high-energy garage rock. As they were a Midwestern garage outfit in the early 2000s, comparisons to early WHITE STRIPES material make sense, although the urgency in these songs feel more natural than anything Jack White has carefully constructed. The vocals are a little one-note, and the band seems to only know one speed—there’s a mid-tempo track sandwiched in halfway through, but beyond that, this is fast-fast-fast, with the understanding that things could collapse at any second. While there isn’t too much variety to be found track to track, the caution-to-the-wind style that these seven tracks are played with does a pretty nice job of steadily building up tension from first note to last, and that made me want to stick around and see if they make it through to the end.

The Manikins Swedish Woods LP

Sweden and garage rock is one of those combinations that always seems to work, and Swedish Woods is another gleaming example that evinces this axiom. The MANIKINS have been churning out high-energy heat since the late ’90s, and upon listening, one may be quick to think of the HIVES, fellow Swedes who formed a few years earlier. And while they would make a great double-bill to be sure, it would probably make more sense for the MANIKINS to play the afterparty—no coordinated suits, and a late night energy that you just want to keep going, sleep be damned. There’s also a little more variety to be found throughout these twelve tracks than what you usually get from their contemporaries. Swedish Woods brings in elements of power pop (“Rosita”), as well as more straightforward rock sounds (“My Last Time,”). It’s the soulful crooning and howling vocal delivery on “I Need To Tell You,” however, that cements this album as a real standout.

Peace De Résistance Lullaby for the Debris LP

Moses Brown’s second offering as PEACE DE RÉSISTANCE is a beautiful contradiction—it is both familiar and foreign, unsettling and comforting. The sounds are immediately recognizable, calling to mind the sleazier side of ’70s New York City glam rock, but no contemporaries come to mind. The music feels nocturnal, while the lyrics are the kinds of thoughts that fill your day, working to get by for yet another month. This is all to illustrate that PEACE DE RÉSISTANCE is not easily pinned down, which is part of what makes this record so special. Brown conveys themes to the listener in such a specific and personal manner, and that skill transforms ideas that certainly are far from new territory into feelings both fresh and urgent; being alienated in your own city (“Ain’t What It Used to Be”), trying to get by in a system rigged against most of us (“40 Times the Rent,” “Pay Us More”). Lullaby for the Debris manages to take the strong foundation laid in Brown’s debut Bits and Pieces, and takes his project to new heights.

The Budget Boozers Love You, Hate You CD

Not to judge a record by its cover, but my hopes were not high after judging this record by its cover. The name, the art, self-describing themselves as “real hippie shit for the real punks,” all of it pointed to something I would skip if I came across this album at my local shop. But Love You, Hate You by the BUDGET BOOZERS is the reason that saying about judging and covers exists, I suppose. These ten tracks of glammy, bubblegum garage rock caught me by surprise, more so than perhaps any other album this year. This album rips. There is a fantastic variety of sounds to be found here, with each new tune providing something that can only be described as charming to my ears. There are great string sounds sprinkled on some tracks, tracks that rip in and out in a minute and change, reverb-soaked surf guitar, and that’s all within the A-side alone. While the album ends not with a bang but a whimper as the last two tracks fail to meet the rest of the album’s energy, I will still gladly say I was too quick to judge Love You, Hate You, and will come back to this one again and again.

Sad Eyed Beatniks Ten Brocades LP

I happened to put this record on for the first time on a Sunday morning, which worked out well as this is perfect Sunday morning music. Ten Brocades by SAD EYED BEATNIKS is a fantastic bunching of easygoing, slightly whimsical pop psych tunes that could only come out of the San Francisco area. These sunny, lo-fi tunes call to mind the past sounds of WHITE FENCE or the mellower side of the Elephant 6 collective, while also sitting perfectly side by side with a more contemporary reference in APRIL MAGAZINE (was not surprised to find there is some member overlap there). This may be a collection of songs written over the last couple years, but it still feels very cohesive in its flow with songs calmly washing over the listener from start to finish. Press play right when you wake up, and by the time you get to “Passing Melody,” you’ll be ready for its slightly more VELVET UNDERGROUND “I’m Waiting for My Man” street gallop. Great stuff.

The Ward The New Dykes / Mike, Mikey, Michael 7″

Two old tracks from a short-lived Toronto group circa 2011 released as a 7”. While the songs are over ten years old, they manage to concurrently feel fresh and timeless. These songs would be right at home on a Lookout! Records release from the ’90s, or a No Idea release twenty years after that. While having pretty different runtimes (one at less than two minutes and the other at over four minutes, respectively), both tracks are massive sing-alongs filled to the brim with hooks and energy. I’m glad Ugly Pop gave these anthems some new life by rereleasing them, and hope they find a whole bunch of new ears to appreciate.

Cry Baby Killer Double Black 13 LP

CRY BABY KILLER formed in the ’90s and finally offers their first full-length collection of songs with Double Black 13. Given the 23 tracks on display here, including “Sunday Best” and “Skull Shaking Boogie” which were previously released as a single back in 1996, one assumes this is a collection of songs rather than a singular album. Either way, this is a long run time that isn’t really meant to be ingested all at once. If you pick from the pile, there are for sure some solid sounds to be had, such as “Boystown,” which has a nice little NEW YORK DOLLS tinge to it. If rockabilly suits you, there’s at least a few tracks that dabble in that sound too, including the aforementioned “Skull Shaking Boogie.” Overall, there are some things to like here in smaller doses, but being presented with nearly 70 minutes of music is one thing that should have stayed in the ’90s.

Street Panther Muscle Rock LP

Naming your band STREET PANTHER and putting out a record called Muscle Rock lays out a pretty damn tight rope you gotta walk to pull off; fall one way and it’s all too jokey, fall another way and it’s all too coke-y. Well, not to worry, because STREET PANTHER nailed that walk with ease. These are self-aware, tongue-in-cheek rock anthems about being an aggro, fist-fighting, street boy, troublemaker heathen (and yes, those all happen to be song titles as well). This record is about the primitive urges rock’n’roll was created to convey to the masses. So drop any pretense, drape yourself in denim, turn it to eleven, and don’t forget to always “Flex hard / Keep on flexin’.”

Brezel und Anton Spielen Pisse 7″

Here, BREZEL UND ANTON offer two tracks and an answer to a question nobody asked: what would the music in a cheesy, ’60s Hollywood haunted house sound like if it were on an alien planet (where the aliens also speak German)? Oh, you have asked yourself that question? Well, you’re probably going to be excited about this. I, on the other hand, was asking when I would reach the exit of this martian house of wonders. Perhaps these two tracks would feel more effective if they were way shorter—get in, weird everyone out a bit with quick bursts of off-kilter spaghetti western synth, and get out—but at almost seven-and-a-half minutes, the experiment simply overstays its welcome.

Neutrals New Town Dream LP

NEUTRALS follow up their awesome 2022 EP Bus Stop Nights with their second full-length, New Town Dream. Picking up right where that EP left off, we’re treated to thirteen tracks filled to the brim with wonderful pop tunes in the lineage of TELEVISION PERSONALITIES, classic-era Sarah Records, and early Creation Records. All that is to say, an absolute no-brainer for the mighty Slumberland Records to have put out in the US. Throughout the record, there is plenty of variety to keep your ears tuned in and the volume set high. Tracks like “Travel Agent’s Windows” and “Substitute Teacher” detail the humdrum lives of these new town inhabitants so clearly that the mundane transcends to humor—“He was a triumph in the Scottish play / He’s only here for a day.” These details throughout the album make for a truly satisfying listen that will have you returning to check in on the new town’s population again and again.

Giuda Louder Than Action / It’s Not About the Money 7″

After roughly five years, the Italian royals of bootrock return with yet another pair of soaring anthems. The driving verses of “Louder Than Action” pull you in right away and reward you with a big chorus replete with handclaps and the group shout of “gun it!” On the flipside, “It’s Not About the Money” manages to raise the bar even further with a classic mid-tempo stomper, letting you put those boots to good use. If you haven’t been introduced to GIUDA in the last fifteen years, you can’t go wrong picking up any of their singles, but this is a perfect entry point.

River City Rebels Pop Culture Baby EP

Long-running pop punk New Englanders RIVER CITY REBELS return with a new four-track EP that’s brimming with cultural and societal critique, just as they’ve been doing since the turn of the millennium. Tracks like “Rock a Cross” and “Unless You’re White” are outward-looking indictments that could be about one specific person or a broad gesture to half the damn country. The big payoff on this record is the closing track “Abuse Myself.” Here, the critique turns inward and we are treated to a sub-90-second scorcher. Ending with the mirror flipped on themselves, RIVER CITY REBELS remind you what can happen to yourself, perhaps as a byproduct of the dumpster fires happening all around you.