Not sure where the “Memphis” part comes in, though at times there’s a slight CRAMPS influence. Otherwise, this is raunchy rock’n’roll meets early punk with screeching female vocals. Real rhythm, basic stuff with ultra-trebly production.
A speedcore group whose three tunes all thrash hard and have “horror” lyrics. Oooh, I’m scared.
Four songs that range from slow to mid-tempo and grind out simple, harsh, melodies. The female vocals add nice harmonies but are done in such a way that most of the songs gain a strong gothic feel to them. The message is a serious, political, pro-awareness theme both in the lyrics and booklet.
Great fast punk with lyrics about TV, ignorance, etc. Very energetic stuff here with excellent production to boot. Watch for these guys.
Two “embarrassing” tunes, as MYKEL BOARD terms his latest release. Embarrassingly good, actually. One is a rager, one a slow diatribe, both well done and up to his usual quality (?), and both appeared on the German comp LP, The Power of Love.
Spotness, you bet. Produced, paid for, played, written, sung, and art by the almighty Spot. And although it’s a little self-indulgent at times, it’s also a masterpiece of composition in both silly ditties, calculated garageness, and elaborate, intense, rockin’ instrumentals. Pretty damn weird but pretty damn good too.
French Oi! with a fast crunching sound quite unusual for this style of music. “Oi” is my favorite track here, with its haunting vocal choruses, though the other two tracks have power to spare.
A fine, star-studded, post-mortem release, rich with vocal and instrumental interludes, the classic dissonant balls-out rockin’ and the words…are inspirational. It’s a composition that’s well conceived, executed, and received. Too bad it’s the last.
A decent retrospective of one of early punk’s finest bands. Pop punk that lasts, mostly dealing with the insanity of love. Their catchy tunes, great harmonies, and hard drive are virtually unmatched (the punk BEATLES?). Still, you should try to pick up all the original releases as this retro just scratched the surface.
Excerpts taken from this East Coast outfit’s four year existence. Contains live and studio material with varying sound quality, but all is powerful thrashy stuff.
I sure don’t remember the first EP by this Swedish garage group being as tough as this. They start off with angry fury like the early NOMADS and finish it off with some great abrasive harmonic playing to prove they deserve their foothold as an international psychedelic punk band to watch.
One raunchy LINK WRAY-ish tune, one world beat-ish tune a la the BEATLES “She Said,” one ballad and one college FM-sounding instrumental. For a band that can rock, they sure seem shy to do it on vinyl, opting instead for a commercial sound.
Yeah! These guys are right on target; ferocious punk and thrash with angry lyrics slagging sexist goons, vigilantes, homophobes, and other lamos. Cool stuff, keep it up! Booklet enclosed.
Vicious, ultra-fast thrash not unlike early D.R.I. If you’re an insane mega-thrasher, this tape is definitely for you.
Pretty good RAMONES-y punk with a hard to hear organ. Fairly enjoyable tunes but something sounds a little out of sync.
Quintessential British Oi! with all the melodic aspects melded to the street lyric themes. A powerful guitar emphasis makes some of these tracks quite enjoyable from a musical point of view, but this is not OI POLLOI.
COC seems to be sidestepping the whole speedmetal/crossover scene with this new release. Their sound now takes influences from mid-period DISCHARGE and early BLACK SABBATH, but COC still has the two things most other punk/metal bands lack: originality and intelligence. Thumbs up.
JESUS AND MARY CHAIN meets DREAM SYNDICATE. Can they be sued for this?
A whole new band (except for vocals) since their 7″, this one will delight speedcore and metal-influenced punk fans. Lots of production, big guitar sound, and even colored vinyl copies. Classic TVOR inner sleeve layout, but the outer cover? Stiv?
This is a 9-song demo, featuring some great sounding punk. CRIMPSHRINE have a 77 sound, somewhat along the lines of SLF. Besides their material, this tape features 2 songs each of some recent Berkeley bands like SOUP, BASIC RADIO, SWEET BABY JESUS, KWIK WAY, and DISTORTED TRUTH. Well worth picking up.
Some things are better left alone, like certain memories…or bands reforming. All the original members here, Stiv, Cheetah, etc…but this sounds like the LORDS OF THE NEW BOYS, not the snarling, twisted, classic shit on their first LP back in 77.
Straightforward punk and hardcore with well-thought-out, intelligent, caring lyrics dealing with ignorance, oppression, and the destruction of various subcultures. Their honesty and sincerity, as shown by their cool lyric book, makes this worthwhile.
I gotta fess up—I’m really a sucker for the FLESH EATERS sound and any related project but I was a little disappointed with the last LP by the DIVINE HORSEMEN, a little too clean sounding. On their latest record they’ve coupled four new tunes with some pretty respectable covers by DAVID ALLAN COE, the CRAMPS, ELVIS PRESLEY, and THE ROLLING STONES. This might actually be the right place to start with this group.
Surf, 60s pop, psyche, all rear their ugly heads here. It’s OK, inoffensive stuff but nothing to do a double-take over. If you’re gonna go back to the past for inspiration at least re-emerge with some idea of what decade we so live in. These guys coulda done for BRENDA LEE’s “Sweet Nothings” what THE SAINTS did for CONNIE FRANCIS’ “Lipstick on Your Collar.”
The end product of the DOGGY ROCK Project (not the Flipside DOGGY STYLE) leaves me laughing not with but at this band. A weak BEASTIE BOYS meets Top 40 radio is what comes to my mind. The only useful part of this record is the free rubber which comes inside.
Wow! Incredible stuff here! Metallic thrash (but not generic speedcore) with pretty good lyrics and powerful production. Get this.
Noise with an edge, and occasionally some recognizable melodies, too. No wave meets beatnik jazz meets the modern “Chicago sound,” from whence they hail. Arty, but not too pretentious.
Wow! This is neat! Powerful energetic pop punk with a drum machine. In general, I don’t like “non-human instruments” but this is darn good!
This solo artist plays industrial dance music (synth, rhythm machine), and the result is much more likeable than PHIL COLLINS, so I thought I might let you know.
Here is GG ALLIN with 45 minutes of raw, intense debauchery. Some may call him sexist, violent, or stupid, but some of these tunes are catchy! Not for the easily offended or “politically correct.”
A self-produced EP is an admirable effort and these two bands pull it off in a good spirit. Both bands utilize an early punk sound. Switzerland’s GNA GNA take influences from the RED CRAYOLA school but here they rock harder than their first single. W. Germany’s BAD ATTITUDE combine hardcore and punk styles into two catchy songs. A good EP.
The instrumental sound is basic French punk/HC with loads of instrumental punch. The songs emphasize a hard sound over melody, although the real weakness of this album stems from the out-of-tune female vocals which alternate with the male singing. Adequate.
Well done pop-punk, but the vocals are mixed way up front (and are a bit annoying), and the music itself is so produced that it loses a lot of bite.
Mix that trademark Aussie rock sound with a dose of the Liverpool pop sound (TEARDROP EXPLODES), and you end up with a very accessible, textured sound which boasts a real distinctiveness. Good on melody, but doesn’t really connect with any discernible punch.
I remember the first record by these guys as being real tough in the vein of the LIME SPIDERS or the NOMADS and while there are a few all-out screamers here, most of the songs on their second album are more somber, and maybe a little bit more bluesy. Not a bad thing, but if you believe a band is not as good when they get technically proficient you might want to pass on this cause they can play now.
Mostly basic, ripping thrash which is undeniable tight and powerful, though a bit lacking in the innovation department.
At first listen this band seems like another gothic throwback but their upbeat punch mixed with powerful rhythms and a psychedelic/blues style proves they can take off where LEATHER NUN left off. Hooray for a fine Swedish tradition.
Aargh! Brutal stuff here: abrasive thrash with a chainsaw sound. Eight tunes, all gnarly. Insane shit here, dude.
Three cuts here: the title track being the best of the cuts, an impassioned, melodic, mid-tempo punk number with some acoustic guitar work. On the flip are two powerful, speedcore bashers with complex structures. A good 7″.
Pretty powerful stuff here, a forceful collection of hard thrash (the non-metallic variety), and slower, punk-influenced tunes. Good show, boys.
Pretty enjoyable 77 punk with good energy and tunes. Not as tight as I’d hoped, but at least on one song, “Jo Dassin,” they sound almost like SOCIAL DISTORTION.
Chicago’s LOST CAUSE performs HC with a melodic punk edge, always aiming to kick ass in energy and drive. Echoey vocals got in the way of my full enjoyment, but there’s undeniable potential evidenced in some of these songs. Above average.
Is there such a thing as getting “BYOed”? While their latest release is pretty decent pop punk (at best they sounds like an American NEUROTICS), it’s a bit weak compared to the previous 7″. All the tunes are mid-to-slow paced, have very good lyrics, and I bet they really rock live. But at this point, they seem to be going the way of the RED ROCKERS.
Both sides of his German band’s latest are excellent pop punk. Well produced, catchy tunes and lots of guitar and vocal choruses. Classic punk.
Some fast, juvenile sounding punk here with personal lyrics. Good stuff here and they have a totally cool logo: a sleeping cat!
More grungy street punk from these jokers. Some catchy tunes here, and “We Rule the World” is damn rockin’. Cool Stuff.
With a name like this, I expected an early THEM raunchy R’n’B sound (band name is a great THEM song), but it’s pretty lightweight 60s pop with only a lilt of “G-L-O-R-I-A” in it.
NABAT, Italy’s longest running skinhead band, returns with their original and hard-hitting Oi, this time delving into reggae a bit as well. Consistent, diverse, and powerful stuff. This LP is dedicated to Nelson Mandela (among others), which sets NABAT prominently apart from the racist stupidity of most other bands. Good.
I’ve always enjoyed stuff like this: tight, to-the-point thrash with basic production and snappy riffing. Although I can’t say this is remarkably original, it connects with charm, fun, and touches of songwriting quality. Very good!
Sort of a FLIPPER meets BIRTHDAY PARTY with the accent on the less pretentious noise side. Lots of grunge and painful guitar attack, some set to poetry. Pretty gripping.
Here’s the dark and virtually unknown underlings of hip, European, noise-punk. OH’ DEV’s second one is all right. Lots of the ol’ dissonant, psycho guitar with poetic spoken style vocals and lyrics of the disquieted character. But they’re upbeat enough of the time to demand a few listens and the title track is great.
Very powerful, drunken punk and thrash extremely similar to POISON IDEA. Heavy on the drive and power. Good job, dudes.
Humorous themes abound on this one, a slab with the fast/slow. HC approach and vocals reminiscent of the CRUCIFUCKS. Basically raw and okay, but the ultra-fast version of the CURE’s “Killing an Arab” is priceless.
Hot metallic thrash with mostly gloomy lyrical themes. The vocals get a bit muffled at times, but tunes like “No Future” deserve to be heard.
Done in the early 70’s before he gained fame with Ohio’s PERE UBU, the A-side is a DYLAN-like acoustic ballad and the B-side is a very garage-y cover of the VELVET UNDERGROUND classic, done as if Lou and company took downers instead of speed one night.
Some good mid-tempo punk metal here. I hear traces of MOTORHEAD, ACCUSED, etc. Side one lacks in sound quality but side two captures their spontaneous intensity. 13 songs, 3 covers, and English lyrics.
Kind of a “history of…” tape consisting of material from 82-’87. Of course it’s obnoxious, snarly punk rock from these Canadian jokers.
A diverse selection of noises from garage-y punk to speed metal to jazzy material all with a spacy guitar sound and personal lyrics.
While not as melodic as most of their Swedish counterparts, this outfit plays excellent hardcore. And compared to most other bands of this ilk, they are way more melodic. Like their previous 7″ (we fucked up and didn’t review it last year – also available at this address) this disc has power, hooks, and depth. Check them out.
A powerful fast punk sound which reminds me a bit of a non-metallic MOTORHEAD. “No Time” and “These Days” are the standout cuts.
RESISTANCE can do many punk styles, and included herein one finds DOA-ish punk, 77 punk, post-punk, a punk ballad and hardcore. While none are overwhelmingly powerful or tight, with that variety they should mature into something to consider.
Well, Felix and company are back but there’ve been some changes. Side one if the more “punk” side, though only two of the tunes are really hardcore tunes, while the others are slower and go into metalish or post-punkish territory. Side two is decidedly lighter, sounding like a poor man’s LOVE. Lyrically there’s a lot of “regret” themes (mainly having to do with drugs), a few generally “outside view” tunes, and even two love songs. Glad Felix is turning it around, but I hope the next release shows more verve.
Last time we saw RHINO on their own vinyl, Dangerhouse Records still existed and it was still the 70s. I guess they’ve reappeared just to prove that not every revival has to be lame. While not quite as exciting as that old single, this still cooks, though at times slumps back into rock tedium. Could have been a lot worse.
Three songs here, exploring a faster paced punk sound with a certain lack of musical distinctiveness. I tried playing their first EP after hearing this, and the contrast is telling: the conciseness and good hooks of the old RHYTHM PIGS has been lost along the way.
RIFLE SPORT had a record awhile back and it seemed that they had broken up. But now they’re back and while there’s still a nice, gruff Minneapolis punk sound in there, there’s also a new element. Probably due to producer Steve Albini (BIG BLACK), the sound is a little faster and more rhythmic, sort of a punkier BIG BLACK, okay?
This colorful outfit put out a couple of recent releases that we missed, this being the latest. As with their other material, this is well-crafted pop punk, accented by female vocals with somewhat feminist/radical lyrics. Underneath the colors and pretty music lies some disturbing realities worth checking out, especially for fans of X-RAY SPEX, SLITS, CRASS…
This re-release of the band’s two EP’s on one record is a definite treat for those who missed out the first time around. Both sides are packed full of the intense, harsh sound that this English band was known for, as well as more of Nick Blink’s cover act. Not for tame ears or eyes.
I haven’t liked too many amelodic trash bands lately, but these guys attack their music with such enthusiasm it works. Raging vocals, pounding snappy drums, insane guitar noise, reminds me of early Brazilian HC. Definite.
A marked improvement over their debut EP, SCREAMING BROCCOLI opt for a poppish rock approach to gently satirical material. The jaunty humor and poppish sensibilities of this record recall early ANGST, though this has a less aggressive sound.
Combining elements of punk, country, blues, rockabilly into something other than “spaghetti western” music is no easy feat for an Italian band, but they do it well. Fun, and not pretentious.
Fine people, these dogs, A Bay Area band that tirelessly supports their scene, play great shows and just “care” in general. They’ve added a new guitarist and lost their old singer, so they’ve got a beefier sound but they’ve lost a little of their great spazz quality. Still, this record rocks comfortably between punk and rock with a nice hayseed quality—friendly record and friendly folks.
Hard to believe this band is German. The music sounds like ANGRY SAMOANS, the vocals are U.S. style snotty punk (the singer is actually an American ex-G.I.), the lyrics are sarcastic SoCal-type, but instead of sun-baked retard we get some genuine insight. Hot as hell!!
Similar to labelmates CAMPER VAN BEETHOVEN, this band manages to blend their hayseed weirdness with some wonderfully scruffy weirdness to produce a garage band that’s not afraid to try anything. SPOT is a bit more aggressive than CAMPER, however and their brand of humor less esoteric and more just plain strange
Hot, energetic ’77-ish punk with a mixture of personal and horrific lyrics. At places, sounds like the MISFITS. Great stuff here.
Not as speedmetal as I thought their second LP might be, though there’s plenty of guitar wanking woven into the HC. At least they don’t try to come up with a gimmicky imitation of “Institutionalized” here, but the lyrical content is pretty thin, with lots of egotism. Okay, but not special, especially considering the time between albums.
With a name like the SWAMPSURFERS, I was expecting psychobilly weirdness, but this is relentless thrash not unlike RAWPOWER. Crazy stuff within.
Great! These guys prove way beyond their first single that they rock hard using a neo-psyche element but with a powerful 80s style. There’s some really catchy songs here and well worth listening. Good fun. Good rock n roll.
Following in CAMPER VAN BEETHOVEN’S footsteps, these SF kids rock only slightly more garage-y than their forerunners but they still have one too many folk ballads. A couple cute songs like “Golden Gate Park ” are good fun, but otherwise it makes me feel like moving off Haight St. and soon.
Not quite as manic as they’ve been in the past but still buckets of charm here. Doc’s vocals still sound like a cheese grater although when he slows down and just sings normal they sound like a slowed-down BUZZCOCKS. Still really cool, pointed lyrics and a lot of really good playing, nice to have these boys back.
After a couple wimpy singles these guys come through with a bang. Neo-psyche, yeah, but they really rock out. Only one previously released song and all-in-all a hot LP beginning to end.
Sometimes surprising in its variety and energy, sometimes overdone and too long–a mixed effort. While their 7″ was funnier, this LP goes for production and power, sometimes obtaining a good cross of both, but not frequently enough for me. Lots of metal for the bangers though.
A pretty good but not amazing mixture of 77ish punk and thrash tunes with both serious and silly lyrics. Most effective are “Song are Rudi,” “Punx Not Allowed,” and “Remember Auschwitz.”
The singing sounds like TELEVISION and so does the music, but at almost schizophrenic “extremes.” The A side is way clean sounding and the flip contains some noise guitar and could be right off Tom Verlaine and Co’s first LP.
This rocks! 13 live cuts from their 1985 tour of Europe, including great covers of “Human Fly” and “I’m Loose.” Expensive but great sound quality, a nice gatefold sleeve and additional flexi make it all worth it; get it and get crazy.
Still more rock’n’roll fun with Australia’s irrepressible goofball punkers. Both sides pummel in the fast, snotty punk vein; while the hooks are kept way in the back, the energy and speed here almost compensate for it. “Ferdi’s Song” has some good choruses. Pretty good.
The A-side has a definite STOOGES feel to it, a medium paced song with mysterious undertones. The flip conveys the same mood, taking the DYLAN classic and taking it as far from the TURTLES’ version as possible within a pop reference, sorta like BRYAN FERRY might have done.
Title track is one of their haunting and beautiful ballads, while the flip features a nasty cover of BO DIDDLEY’s “Who Do You Love” and an awesome song, “Kill Surf City,” that sounds like a SUICIDE gone apeshit. Hot.
Imagine SCRATCH ACID meets THE CRAMPS meets LIME SPIDERS with a straight ahead approach but without much of the neo-’60s feel at all. Pretty damn fun, trashy and demented with two grindy guitars.
Very good, early-style LA punk with clean hooks and straightforward melody. I don’t think it’s an insult to say they’ve got a sound that’s like early TSOL. Could use a full LP of this.
One of the better garage bands, the SICK ROSE had a single out a while back and like this LP, they’ve got the ’60s sound down but they also manage to throw in a taste of their own into the music so it’s not just an American ’60s sound, just influenced by it. Maybe somewhere between the CHOCOLATE WATCHBAND and THE SEEDS.
This is the underrated NJ UNDEAD featuring ex-MISFIT Bobby Steele. The cassette included all the material from their three hard-to-find EP’s plus an extra track. All great, early, style punk. Recommended!
The two songs by THE PAINKILLERS are like 60s punk blues meets PERE UBU and BIRTHDAY PARTY. The YETTIS “song” is like the BUTTHOLES meets PAINKILLERS. You figure it out.
Pretty solid speedcore that doesn’t really stand out from the pack. Okay lyrics about religion, war, and other topical subjects. Not bad but not amazing, either.
Best effort yet from these inspired French punkers. Both sides of this single exploit powerhouse guitar and vocals with absolutely irresistible riffs and melodies. Total ace!
It’s about time! This collection of tracks from 1981-2 sports a series of outstanding tunes by vintage TSOL, including one clinker (“Weathered Statues”): the rest is dynamic, upbeat, guitar-oriented TSOL at their best and near-best.
If you’re yearning for punk, garage mania without the noise element, here it is. Grinding guitar, punchy drumming, catchy melodies, slightly psycho but stark rhythms. The first track is awesome, the EP a find.
A mostly-French comp with BRAINWASH, BUTCHER, RAFF, and several more (including TOLBIAC’S TOADS, who we’ve heard nasties about), and then GOVERNMENT ISSUE. Mostly ’77 punk styles here, but Germany’s MANIACS’ thrash tune is the hottest track.
A solid comp of mostly melodic garage punk and thrash. Hot tunes are by: ROT, VERMIN FROM VENUS, FOE, and TERMINAL CHOICE. Good show.
An international sampler featuring DEPRESSION and GASH from Australia, SONS OF ISHMAEL, HALF LIFE, FAIR WARNING, and DEHUMANIZERS from N. America, FUCK GEEZ from Japan, and MOTTEK, K&T, SO MUCH HATE, and RAPED TEENAGERS from Europe. There’s little in terms of melody, lots in terms of pounding speed and intense lyrics.
YOUTHQUAKE, FORETHOUGHT, and MORAL CRUX are the standout acts on this well-rounded comp which included sounds ranging from garage-y punk to super thrash. Great stuff here.
If you’re familiar at all with the great Smoke Seven releases during 81-’83 and don’t own them, get this LP. Nineteen of the best from REDD KROSS, BAD RELIGION, MIA, JFA, etc. All previously released but all great punk rock classics.
A solid U.S. comp with VERBAL ASSAULT, FALSE LIBERTY, HALF OFF, and a smorgasbord of other dandy acts. A great introduction to smaller U.S. HC bands, booklet included.
Four bands share this comp: WOUNDED KNEES (twisted metal thrash), RESPIRATOR (mostly strange thrash), 7 MINUTES OF NAUSEA (inaudible noise), and NO IDEA (hot powerthrash). Mostly good stuff here.
Quite a collection of many of the hottest UK hardcore bands. Includes one of each by DISORDER, CHAOS UK, CONCRETE SOX, RIPCORD, ELECTRO HIPPIES, GENERIC, STUPIDS, DEPRAVED, POTENTIAL THREAT, OI POLLOI, and many more, as well as non-UK stuff by CCM and VICIOUS CIRCLE. Rips.
A new San Jose comp, featuring the FACTION, FRONTLINE, STIKKY, ORANGE CURTAIN, LOVING END (yech!), NO WARNING, JET CRASH MIRACLE, STEVE CABALLERO (yech again!). Wish there was more choice material from STIKKY and FRONTLINE, and NO WARNING show promise, too.
A solid double cassette compilation including CRUDE SS, COLERA, SCRAPS, POLITICAL ASYLUM, and many more. Comes with a large booklet and some profits go to an animal protection group. Neat.
The CIRCLE JERKS, CROWD, UXA, TSOL, BLACK FLAG, SOCIAL D, and others show off mostly ace material on this collection of previously released tracks. Uneven, but mandatory if you don’t have the original pressings of the punk acts represented.
A varied collection of sounds here ranging from thrash to new wavish material. Includes: STIKKY, BRIGADES, GLITTER WITCH, and much more.
Four acts share this tape: W.C.F. (hot, clean, thrash), INFERNO (powerful speedcore), PURE HATE (grungy punk and thrash), and THE GRUESOMES (forceful thrash). All live with a good sound quality.
A well-rounded Chicago Area comp with an accent on the twisted garage-y style. Hottest tunes are by NO EMPATHY, FLY FLOOD, and INITIAL REACTION. Good job, comes with magazine.
Another in a long line of compilations put together by poet John Giornio. While his early records tended to focus on writers and poets, he now seems to put together rock bands. Not only are there some nifty things by GIORNIO and WILLIAM BURROUGHS but there are some previously unreleased pieces by the SWANS, the BUTTHOLE SURFERS, DIAMANDA GALAS, NICK CAVE, TOM WAITS, and EINSTÜRZENDE NEUBAUTEN.
Six acts from NJ and PA such as DIRGE and CHRONIC FEAR shoot out two or three songs each adding up to a pretty good comp. Also includes a FOD interview and a This Zine Sucks zine for…
A solid effort here, featuring GENERIC RIPCORD, DESECRATION, and oodles more. Sound quality is swell, and a mini-booklet is included.
Spastic thrash from Yugoslavian HC acts including the DISSIDENTS, S.O.R. PROGRESSIVE IDIOTS, and more. Sound quality varies immensely. Pretty good.
A benefit LP for the armed ANC resistance in South Africa, released by De Konkurrent in Holland and Mordam in the U.S. Besides coming with a really excellent (visually and content-wise) magazine, this LP contains some great stuff from SCREAM, SOCIAL UNREST, VICTIMS FAMILY, RHYTHM PIGS, and 76% UNCERTAIN in the U.S., and CHALLENGER CREW, THE EX, DEPRAVED, BGK, EVERYTHING FALLS APART, SCA, KAFKA PROCESS, and MORZELPRONK from Europe. Get this, for sure!
A pretty solid comp with RESJESTRACJA, A.S.F., A.P.P.L.E., and more. A good variety of material with clear sound quality. Good effort.
A wall of guitars and percussion on the edge of audio distortion makes these two powerful tracks surprisingly appealing. This is mid-tempo, discordant, and rather indescribable with those demented vocals and unique instrumental approach. Quite good for its genre.
A variety of sounds here, mostly slow melodic punk and extremely catchy stuff. Side two features a digital piano. An enjoyable showing here.
