Reviews

Bachelor

Aborted Tortoise A Album LP

If you, like me, mourn the loss of the great AUSMUTEANTS and are jonesing for that same mix of uptempo garage punk, DEVO-lved new wave, and American hardcore, you may want to turn to this Perth five-piece to get your fix. That’s not to say they’re a rip-off or a perfect copy. The songwriting here is a little less catchy, you get snake-y guitar lines in place of the synth riffs, and ABORTED TORTOISE is a little more DEAD KENNEDYS compared to AUSMUTEANTS’ MINOR THREAT (check out “R.L. Stine” or the surf instrumental “DLC”). But the overall vibes are very similar, particularly in the way the vocalist does that same talk-singing to Squeaky-Voiced Teen shout that was one of the hallmarks of AUSMUTEANTS. Where these guys stand out, though, is in the way they weave together their lead, rhythm, and bass guitar parts. The interplay on “CGI,”with all three switching between super busy lines and synchronized rhythmic punches, is super impressive. Give it a listen!

Chaos Day Doult / Get Out of My Pocket 7″

This is a nice little piece of history. CHAOS was one of Austria’s first punk bands and this is their half of a long-ago split with Swiss band the SICK. I’m not much of an Austrian punk connoisseur, but CHAOS was closely tied with the Swiss punk scene of the day. You can hear the resemblances to Swiss peers like the NASAL BOYS or TNT. “Day Doult ” is definitely more of the razor rager here in snootiness and speed, but “Get Out of My Pocket” is the catchy Euro gutter trash-pop number that’ll be glued to your brain. There’s really touching liner notes from a young relative of one of the band members who seeks out his kin, Slaughter, in the ’90s and gets a lesson in punk. It’s a nice slice of ’77 Euro punk and if you’re itchin’ for a new reissue, this could be the one.

Chuzpe Women in Prison / Stealing Russians in Watchia 7″

Bachelor digs up two unreleased 1979 recordings from these Austrian oddballs. CHUZPE, arguably Austria’s first punk band, formed in 1977, initially playing pretty straightforward punk. Over time they would gradually morph into a full-on synth-pop band, but these tracks find them a bit closer to the punk end of that spectrum. “Women in Prison” is a punky new wave number where the synth is wielded like a frat rock organ, giving the song a bit of a B-52’S vibe. “Stealing Russians in Watchia” is more frenetic and post-punky with a circusy synth running throughout, sounding not unlike early WALL OF VOODOO. Probably inessential, but a cool enough record.

Chuzpe Terror in Klein Babylon LP

A compilation of demos and unreleased recordings from early Austrian punk group CHUZPE, this LP is a lasting document of old school punk in Europe. For being made up of mostly demos, the record is surprisingly high-quality. The tracks sound full and developed, but still rough enough to sound reminiscent of other late ’70s punk. If you’re looking for something to be nostalgic for then look no further. This is about as good as it gets when we’re talking about found recordings compilations.

Hood Rats Crime, Hysteria & Useless Information LP

Hardcore out of Montreal with a cowpunk twang. No shit. Catchy as hell with an attitude that matches. Reminiscent of the golden era of GG ALLIN, but much faster with a much better lead guitarist. Fantastic stuff here, and well worth a spin. I’ve played through this like five times in one sitting.

Novak’s Kapelle Not Enough Poison / Smile Please 7″ reissue

Pretty surprising to be reviewing a reissue of an Austrian psych/garage record from 1968 in MRR, but hey, punk came from somewhere. That aside, this is really good, reminding me of the OUTSIDERS or Q65. This is their second EP and their first and better one has a song called “Hypodermic Needle” (!) How punk is that? “Not Enough Poison” is pretty swell though, and it looks like this band went on into the ’70s doing interesting-looking stuff. Put down that CONEHEADS record punker, and learn a little history. Prost.

Novak’s Kapelle Hypodermic Needle / Doing That Rhythm Thing 7″

A repressing of a 1968 single—I initially thought this was a modern recording of a band doing a throwback sound. Austria’s NOVAK’S KAPELLE played psychedelic garage rock, and while it’s a decent little single, I was much more into it when I thought it had been recorded in this day and age. I do appreciate a re-release for those who want this stuff on wax, especially considering that the original 45 has gone for upwards of $400 on Discogs. For fans of IRON BUTTERFLY and doing large amounts of LSD.

Progromo Heute Schlägt der Bauer den König / Niemals wird Heute 7″

With an opening clip from Rebel Without a Cause, I couldn’t help but be interested. This 7” single, with an A-side translated to “Today the Pawn Beats the King,” has been brought to light forty years later, after being the side project of Bernd Zimmermann (ISOLIERBAND, DEUTSCHDENCH, amongst others). PROGROMO is drum-machine-driven, with clean guitar and guttural-yet-clear deutsch vocals that land nicely in the realm of poppy darkwave, and I like it. This tracks with other modern releases from the likes of Phantom and Symphony of Destruction.

 

Progromo Im Zentrum der Macht / Die Sterne Fallen Auf Amerika 7″

Hyper-obscuro German post-punk from Bernd Zimmermann, who was a member of ’80s groups ADD, DEUTSCHDENCK, and ISOLIERBAND. These two tracks (along with those released on the “Heute Schlägt der Bauer den König” 7”) were originally recorded in 1982 and previously unreleased until this joint venture between Bachelor Archives and Red Lounge Records. This is solid post-punk with gloomy Teutonic vocals, firmly of its time but should nonetheless please anyone with more than a passing interest in the genre. The B-side “Die Sterne Fallen auf Amerika” especially reminds me of Pornography-era CURE or the early 4AD roster.

Protex Wicked Ways LP

This is the second album from the reformed Northern Irish punk band PROTEX. The best thing you can say about a reunited band is that they still sound like their old stuff, and PROTEX does a good job of sticking to that old sound. Wicked Ways has that punky power pop sound and the songs are introspective in an almost teenage-like way. They are dreaming and wondering. The only original member is singer Aidan Murtagh, but as I have read, he feels no pressure for this version of the band to become successful with any new recordings so it has freed him up to just have fun. I think that is a great attitude. I am sure some naysayers will complain (they always do), but after they have been listening to this album for forty years, they’ll have to admit I was right. If they are still around, that is.

Rolltreppe Rolltreppe LP

Vinyl version of a nine-song cassette that this Austrian group released last year, with the sort of lo-fi immediacy that can only be captured by playing together live in a room with a four-track running. There’s a definite NOTS vibe on this one, specifically NOTS as they existed in that transitional period between the stripped-down punky garage bash of their first two singles and the dark, driving electro-post-punk on their most recent LP, from the spaced-out delay on Rebecca’s shouted vocals (largely in German, with a few detours into English), to the squeals of synth on “Mischmachine,” to that wiry, post-WIPERS guitar strangling that comes through on the more urgent tracks like “Forgotten Keys” or “Glasfaser.” Despite some borderline post-punk flourishes (like the see-sawing rhythms and quick cuts of sax skronk on “Lebenslauf” and “100 Grad”), ROLLTREPPE is decidedly a punk band, with a raw, shambolic energy in step with any number of German-language, femme-centered DIY classics from a time well before now—GLUEAMS, HANS-A-PLAST, A-GEN 53 if you want to go really deep, etc. A solid debut, no doubt. 

Salamirecorder & the Hi-Fi Phonos Goods for Conversation LP

If you’ve been wondering who buys every single variant of every single (and double) record that THEE OH SEES release, well, I found the culprits. They live in Vienna, Austria, and they seem like very nice chaps. Goods for Conversation is an enjoyable enough modern-day garage rock record, but hoooo boy, John Dwyer might have an impending case of copyright infringement on his already crowded docket. Within the opening seconds of this album, the singer lets loose with one of Dwyer’s patented cattle-call whoops (even the FX settings are perfectly dialed in). That vocal tic drapes itself all over this album like a bedbug-ridden blanket. Luckily, international law doesn’t give a hoot about such blatant shenanigans, and maybe you don’t either.

The Ar-Kaics Ar-Kives, Volume One: Singles & Unreleased LP

This is a collection of singles from this Virginia band who’ve been morphing their own take on ’60s-style lo-fi garage for years. You can sense the influence of the lineage, but the music has its own unique sound, without duplicity. Tunes range from defiant anthems (“Can’t Stand This Place”) to sludgy stomps (“Cut Me Down”). The band had COVID cancel US, European, and Japanese tours, but were able to release these early out-of-print singles dating back to 2013 and some demos instead. It’s a great place to start if you’ve never heard their other releases. Not just for fans of the Back From the Grave scene, but for anyone who digs fuzzy, snotty songs with a little attitude. European release by Bachelor. In the US, it’s on Dig! Records from Virginia, which has been putting out vinyl for five years but this release was given the 001 catalog number—apparently that’s been on the back burner waiting for a pandemic.

The Ar-Kaics See the World on Fire LP

Well, if the first track is any indication, this certainly has a feel to it. It plods along, very deliberately, slowly, and darkly, almost conveying a sense of helplessness. Jesus, look at some of these song titles: “Chains” (the opener), “Land of the Blind,” “Outsider.” All of the cuts mostly have that measured pace, but they’re also mostly not as harrowing as that first cut, although they are dark and brooding. Think of LOU REED getting really dark if he got stuck in a garage. Then add more twang. I kind of like it, just in case that wasn’t clear.

The Dead Nittels Anti New Wave Liga LP

Reissue of Austrian hardcore from 1983. Fast songs, rigid tempos, three-chord thrash. Using Google translations of the titles, I can ascertain that one song is about “Friday Night” and the others are some leaden political sloganeering about human rights and a “miscarriage of justice,” and from the record title, they certainly do not like new wave. File under: Standard-Issue International ’80s Hardcore.

The Dead Nittels Anti New Wave Liga EP reissue

Bachelor Archives has done well to serve us up with some hot rarities in the past—this time, a personal fave Euro hardcore punk 45, long in need of a reissue. I think these four tracks made it onto a DEAD NITTELS collection released on Rave Up some years ago, but as a collector I always prefer a faithful repro to get an experience closer to what the initial release format was like. There were some great releases coming out of Austria in the early ’80s but none cut quite this deep into hardcore territory. It’s desperate, pounding, and snarling, somewhere between SVART FRAMTID and VORKRIEGSJUGEND. Yes, seriously! See Pushead’s review in issue #14 for some nice descriptive words. The remastering is noticeable when played next to the original 1983 issue, especially in the drums. It’s an overall louder and wilder mix, for better or worse. I think newcomers may like it better but I’m indifferent. The red on the sleeve isn’t as neon as the original but the cover art is clearly the most lacking aspect of the release anyway! Top-tier for fans or ’80s Euro punk and hardcore.

The Haskels Taking the City By Storm LP

Just to be clear, the first four songs on this record are an essential and mandatory dose of Midwestern US punk history. “Taking The City By Storm” is 134 seconds of hyper-speed power punk perfection that every punk should know inside out, and the rest of the single is…well, it’s perfect, too. So do you need an entire LP rounded out by six previously unreleased demo recordings from 1980 and three cuts from a 1981 live set? Simple answer: definitely. The demo cuts show a band settling into their own just a few short months after forming—just one would-be single after another, from the JAM-tinged mellow number “In Between Girls,” to the pub rock stomp “You Got to Be Kidding.” And the three live tracks show a band that was so undeniably huge…more nuanced than the simple burners that dominated their only vinyl release, more advanced than the KBD comps that cemented their status as an important fixture in the world of trailblazing North American punk rock. Maybe they would have become something else had the band survived—tracks from the demo session hint at a band geared to stand alongside the JAM, COSTELLO, etc.—and maybe they would have reformed and rehashed an adult version of their genius had the members survived. But the band didn’t, the members didn’t, and instead we have these songs. And, as stated earlier: they are perfect.

The Shivvers The Shivvers LP

Break out the Rickenbackers and skinny ties, Milwaukee’s favorite cult power pop quintet is back on wax. This LP of vintage recordings was first released a little over five years ago, but with the apparent demise of the Sing Sing label had fallen out of print. Rerun Records’ welcome reissue is remastered and a good deal if you’re not looking to blow $50+ on Discogs. For the uninitiated, the SHIVVERS orbited the Midwestern scene circa 1980, releasing a classic single before disappearing into relative obscurity for the next few decades. Fortunately, the band recorded an album’s worth of studio material back in the day. Their sharp, ’60s-pop-influenced tunes were heavy on the hooks, and while production values are undeniably slick, the SHIVVERS shrug off the new wave limpness of your typical KNACK/CARS wannabes by virtue of their sheer enthusiasm. There’s no filler to be found. Recommended for fans of the NERVES, early GO-GO’S, etc. I dare you to listen to “Please Stand By” once and not have it echoing in your head for the rest of the week…

The Welders Our Own Oddities 1977–81 LP

More than four decades after their demise, the WELDERS still remain one of the most supremely cool bands of all-time—five teenage girls (all between thirteen and fifteen when they started) who were inspired by the British Invasion and glitter rock to form their own band in St. Louis, Missouri(!) in 1975(!!), just before the first wave of punk would break in the Midwest and a whole year before the superficially similar RUNAWAYS would release their first album(!!!). The first four tracks on Our Own Oddities were sourced from an unreleased 1979 EP that BDR eventually rescued and pressed to 7″ in 2010 (the only recorded document of the WELDERS until now), with a glam-rooted power pop bounce presaging the Bomp!-ed sound of later groups like NIKKI AND THE CORVETTES. The members of the WELDERS were all bookish honor student types who consciously rejected any sort of tough, hyper-sexualized RUNAWAYS-esque posturing right off the bat, and the abandoned EP features some seriously smart, viciously clever songs that took lecherous creeps to task (“P-E-R-V-E-R-T”), embraced their good-girl reputations (“S-O-S Now,” a prude empowerment anthem written after they got grief for their reluctance to look at a photo of Captain Sensible of the DAMNED sans pants!), and skewered regressive patriarchal traditions (“Debutantes in Bondage”), with a classically lovelorn ’60s girl group-meets-bubblegum punk number (“Baby Don’t Go”) thrown in for good measure. The rest of the LP is an assemblage of never-heard live recordings, basement demos, and a handful of takes from free studio sessions that guitarist Rusty was provided with as part of a college recording class, charting the WELDERS’ movement through some lineup changes and stylistic turns as the ’70s ended, with keyboards and an expanding post-punk awareness entering the picture by 1980 (according to the liner notes, the multi-lingual jagged pop jam “Tourist Trap” was influenced by vocalist Colleen’s “favorite band MAGAZINE,” and it shows). It’s all uniformly excellent, and if some of those later rehearsal tapes had been captured in a less roughed-up context, they could have easily fit into a new wave landscape of B-52’S and ROMEO VOIDs—the alternate timeline’s loss is our current timeline’s gain.

The Whiffs Another Whiff LP

I truly and optimistically think guitar pop will never go fully out of style. Pop songs that leave a little sand in your teeth and have a little punch—they’re always worth the three-minute investment of time. So the WHIFFS were kind enough to give you fourteen good investments in one convenient package. This is like the album equivalent of when chefs say “fine ingredients simply prepared.” You can tell where all the influences are sourced from, but it’s all so well-presented and natural that it’s pure satisfaction throughout, without sounding like unnecessary nostalgia tripping (despite the “remember the good old days?” lyrical bent in the excellent head-bobber “Seventeen”). So keep on strumming those six strings and hammering out tightly-structured belters—I’ll keep on listening.

Tralala Das Mädchen Mit Den Roten Haaren / Pubertät Vergeht 7″

The Bachelor Archives series has been doing a bang-up job of documenting and preserving all sorts of lost gems from Austria and Switzerland’s punk past (GLUEAMS! SCHUND!), and the latest installment is a reissue of the 1982 7″ from obscure Viennese punky new wave one-single wonders TRALALA. The B-side “Pubertät Vergeht” absolutely dominates this one, and it sounds so much like early ’80s Austrian femme-punk cult heroes PLASTIX that I had to do some serious research to figure out if there was some personnel overlap between that band and TRALALA (there isn’t)—the loopy vocals that sound like Su Tissue in German, the choppy and off-kilter rhythms, it’s all there… which makes for a very sharp stylistic U-turn when it comes to “Das Mädchen Mit Den Roten Haaren,” with its upstroke guitar and clipped ska beat, male gang vocals on the chorus, and even a bassoon (?!). An odd pairing for sure, but worth it for that B-side regardless.

Zero Zeroes Mirrors / Dreamcrawler 7″

A good, old-fashioned two-song 45 from these German punks. Both songs are mid-tempo, two-guitar crunchers with gruff, melodic vocals and plenty of great guitar leads. With anthemic refrains perfect for singing along, especially on “Dreamcrawler,” both songs are catchy but definitely not pop, and would fit in nicely on a playlist with early JAWBREAKER and LEATHERFACE. Good release if you like traditional, heartfelt punk rock.

Zero Zeroes Zero Zeroes LP

The ’90s often get overlooked by punk bands looking to mine the past for fresh style references, but while plenty can (and has) been said about the ’70s and ’80s, the pre-Y2K years had tons of acts deserving of revisits and updates. Germany’s ZERO ZEROES know this, and while their sound still feels contemporary (and certainly not retro), they also aren’t afraid to harken back to some of the trademarks of heavy hitters like NEW BOMB TURKS and ROCKET FROM THE CRYPT. Combining high-speed swaggering thumpers with whip-smart riffing, this ends up being one of the most fun punk releases in recent memory. It’s smartly conceived and has a worn-down authenticity to it just to seal the deal. The standout track “7070’s” exemplifies the anthemic songwriting this band utterly nails—with big ringing chords, vocals with conviction, and a tough-as-hell rhythm section. Damn near perfect modern punk.