CIRCLE ONE is a band I only know through their reputation—and through stories of singer John Macias being killed by police at the age of 29. It’s Macias’s vocals which are the most interesting component of this reissue. Atop mid-tempo to fast SoCal hardcore, Macias sings with way more theatrics than I expected, reminding me of Jello on late DEAD KENNEDYS stuff, or, alternately, Jack Grisham of TSOL.
I remember this band from the Punk USA compilation on Lookout! back in the ’90s. This reissue of their first 12″ is a perfect distillation of their thing: sugary, poppy pop songs that gesture towards the RAMONES but don’t have any of the aggression of that act (not a knock). Lotsa vocal harmonies and hooks aplenty.
Without LEATHERFACE, there wouldn’t be a Gainesville scene. On this reissue of the British band’s third seminal LP, all the hallmarks are in place: hoarse but melodic, gruff but tuneful, blunt but wistful. Remastered, with a few old singles tracks thrown in, to boot. Crucial stuff.
Goddamn! This LP collects EPs, live stuff, and outtakes from this blazingly fast Canadian thrash hardcore act. Amidst the chaos and unchecked speed can be found little bits of goofiness which make the band’s catalogue much more appealing, and inspired bands like SPAZZ later on.
When talk of early Boston stuff comes up, it usually omits the FREEZE, which is a shame—these cats, along with the PROLETARIAT, kick the most ass on the Boston Not L.A. comp, to say nothing of “I Hate Tourists” coming out in 1978, a full three years before SSD started playing Gallery East. This is all to say that this reissue of the FREEZE’s first LP is worth a listen, though with a prescribed grain of salt: satiric, melodic, and snotty throughout, with more melody and tunefulness than other bands in their cohort. Their lyrics land like a more blunt, less political DEAD KENNEDYS.
Of course I have heard of 100 FLOWERS, the latter-day mutation of the URINALS, but I’ve never spent time with their stuff. This single—which consists solely of a HEAVEN 17 cover and remix of same—does not make me want to go back and explore their catalogue. Try as I might to respect my elders, I just cannot muster any enthusiasm for this one, which sounds like the outro music to some ’80s teen comedy. Sorry, dudes—tried, can’t.
Acrobatic and mathy guitars lead the charge on this one, like on a URANIUM CLUB or LANDOWNER rec. Some of the instrumentation and harmonies throughout give off the same sorta inviting weirdo vibe as SUBURBAN LAWNS, which is always a plus. Both songs clock in at 3:36, somehow—whether this was on purpose or (probably) not, the end result is that I want more.
A reissue of the second long-player by this Bologna, Italy trio. Tightly-wound and jagged post-rock heavy on palm mutes and unexpected turns, not unlike FARAQUET or any of the great math rock bands from Louisville, like RODAN or JUNE OF 44. Great production by Iain Burgess on this one, too, turning each instrument into a weapon. Great stuff.
