Reviews

DCxPC

Call in Dead / 2Amature DCxPC Live Presents, Volume 1 split EP

Two COVID-era live streaming performances put to wax. CALL IN DEAD starts their set with a shout out: “What is up, Facebook Live?!” and dropped into a mosh intro…then some gnarly hardcore delivered in stutters and slams. Growly death metal vocals and yo-yo hardcore shouts..and one ska intro. 2AMATURE is snottier—more punk and less hardcore. Like a raw, dirty version of a catchy punk band, but with wild (and excellent) East Bay Ray guitars. 

Ann Beretta DCxPC Live Presents, Vol. 21: The Last Songs Live LP

This recording of ANN BERETTA’s final show at Richmond Music Hall in 2023 marks the end of a nearly 30-year run for the band. Spanning thirteen tracks, it’s a tour through their catalog of mid-tempo rock’n’roll that draws inspiration from bands like RANCID, GREEN DAY, and ONE MAN ARMY. Instead of any middle-finger-waving theatrics, these guys give the impression of being very earnest players in a long-running band that never really made it big. While the performance lacks the raw energy of the group in their prime, the sound quality is pretty good and the band’s heart is on full display. One high point is when STRIKE ANYWHERE singer Thomas Barnett joins the band for “The Real America.” This album may not be the best introduction to their music, but it’s probably a great memento for long-time fans.

Ann Beretta Like a Riot! Live From the Broadberry (Acoustic) LP

More proof that the line between country and punk is much thinner than you’d think. Originally released in 2020, this 2018 live recording of Richmond’s own ANN BERETTA features live, acoustic renditions of their typically electric originals. It’s popped back up on our radar because DCxPC Live recently gave this album a limited vinyl release. Much like other country-adjacent punk bands such as DRAG THE RIVER and TWO COW GARAGE, these songs are a fine mix of debauchery and sentimentalism. The heavy use of a pedal steel and fiddle pushes the tender vibe while helping fill the gap that’s been left from going acoustic. Strong vocals, very reminiscent of Ben Nichols from LUCERO—very gruff but melodic at the same time. Personally, I enjoy these versions way more than their traditional punk songs. Really adds to a stronger dynamic and makes it much more interesting.

Antagonizör DCxPC Live & Dead, Vol. 4 LP

I previously reviewed a cassette from this all-female, politically charged metalpunk trio from Gainesville, Florida—on this tape, we find a live side and a studio recording that repeats all of the same tracks except one. The live section got my attention this time, including interaction with the audience that highlighted catharsis and spilling anger Lemmy’s way. MOTÖRHEAD traces are still there, plus a politically charged ranting with compromised lyrics exuding attitude.

Degenerates of Punk DCxPC Live, Vol. 13: Live at Ralph’s Rock Diner LP

While I’m not necessarily getting the self-billed “RAMONES-core” reference, I do find myself enjoying this live recording. Live recordings have mostly never been my thing, but I do find that the technology has come a long way (I still find the mixing of the vocals is often an issue, and I’d say that’s true here). This is mid-to-uptempo melodic punk rock that isn’t unlike the RAMONES in the sense that it’s straightforward, super catchy, and the songs are over before you’ve ever gotten tired of them. If you said it was power pop with a heavy dose of garage, I wouldn’t fight you. Last thing: I don’t get it throughout the set, but there are times when they remind me of OPERATION IVY. This is pretty fucking catchy and pretty fucking good.

Fortitude DCxPC Live, Vol. 12: Live at Lou’s LP

FORTITUDE live recording at Lou’s in Orlando on 12” vinyl—DCxPC focuses on live recording releases on vinyl. Stylically, it’s NYHC in the vein of JUDGE, GORILLA BISCUITS, etc., with songs about anti-racism and going back to the core values of HC. The recording documents a specific vibe that won’t be replicated in the studio, but not sure if most people would like to hear live recordings in this format. Might mean something more for people that were involved in their scene to have this in their collection. Limited edition of 200.

Luxury Teeth DCxPC Live & Dead, Vol. 3 LP

These DCxPC slabs are always a lot of fun. LUXURY TEETH brings us your standard rock’n’roll-flavored hardcore. The first half of the album is a live recording—high-energy and sloppy at times, but the good kind of sloppy. Super raw and minimally produced, if produced at all. Lots of charming banter in between songs, and you can tell the band are among friends in the audience. Just a really pleasant time all around. Warms the cold cockles of my heart. Also there’s an OUTFIELD cover slipped in halfway through, and that adds an additional ten points from me. The latter half, the “dead” half, is studio recordings which are a bit more polished and produced, but they do a good job of staying authentic to the band’s live charisma. Really enjoyable stuff here, and well worth a spin.

Moat Cobra DCxPC Live & Dead, Vol. 1 LP

This is a cool idea from label DCxPC: record and release live shows on vinyl, and in MOAT COBRA’S case, back it with a “dead” or studio recorded version on the B-side. MOAT COBRA is an Orlando hardcore band that specializes in sludgy, BOTCH-y riffs and gruff vocals. The live recordings are great—you can clearly hear the guitar textures, nasty bass tones, and feel the overall tightness of the band. “Singularity” has interlocking stoner riffs that would make any RED FANG-loving van-dweller or algebra-core nerd swoon. Ripping track “Soffo Cone” chugs with a fast punk beat that gives way to dueling fretboard equations. The studio recordings reveal guitar subtleties and offer some atmospheric qualities, but since the live recordings are so good, you are essentially hearing five of the songs twice. That’s my only real critique here—Side A and Side B work best as separate listening experiences due to the overlapping tracks. Overall though, it’s a good band and cool idea executed well.

Necrotic Society DCxPC Live & Dead, Vol. 2 LP

NYC’s NECROTIC SOCIETY delivers some slamming hardcore infused with blastbeats for a hell of a headache. Hyper and aggressive, the songs incorporate political themes and an overall vibe of unrest and agitation. This album has a live session on the A-side and studio recordings on the B-side with no repeated tracks between them, and it’s all raucous, heavy shit to get you fired up.

The Kutoffs / Rath & the Wise Guys DCxPC Live Presents, Vol. 10 EP

RATH & THE WISE GUYS deliver three songs of high-energy, dirty rock’n’roll-tinged pop punk that brings to mind kindred spirits like NOBODYS, DWARVES, and even a little bit of ZEKE. KUTOFFS have a more straightforward poppy skate punk style, complete with the good ol’ “ooh”s and “ahh”s and start/stop breaks that are popular in that style of stuff. Both bands are pleasant enough, albeit not without faults, but it’s a live recording so I can’t hold it against them. This has piqued my interest enough to seek out studio recordings from both bands, so I suppose in that respect this split has done its job.

Rebelmatic DCxPC Live & Shiny Dome Records Present, Vol. 18: Live at Fuzz Fest WV LP

An actually good live album of a set from Brooklyn’s REBELMATIC from Fuzz Fest in Morgantown, West Virginia. First thing I’ll mention is that the production on this recording is pristine. Rarely do live shows translate well for me because of poor production, but this sounds good. REBELMATIC plays a familiar mix of high-energy hardcore and hip hop with a classic NYHC feel to it. Each track sounds bouncy and tight, and the crowd banter adds a charming element. It genuinely sounds like this was a fun show to be at. Check out “Pony” and “Blood and Gold.”

Chuck Jones / Sentido Común DCxPC Live and Punk Rock Mag Presents, Vol. 17: Live in Valle Guarco, Cartago, Costa Rica, 11/19/2022 split LP

This seems to be a split record between two bands from Costa Rica. Not just that, but bands who are connected by a bilingual punk zine out of Costa Rica called Punk Rock Mag. From there, the bands both did a session with DCxPC Live and put it out as an homage to live records—the recording quality is great for a DIY live recording. SENTIDO COMUN has eight songs, whereas CHUCK JONES only has five. My favorite song from the A-side is SENTIDO COMUN’s “El Dia Que Muera” (“The Day I Die”). It’s strong and sung with a lot of passion, almost as much as in their song “Sk8 or Die.” People take skateboarding so seriously! Por que andar en patineta es genial! While I did say the live recording is decent quality, it would sound a whole lot better if there was a live crowd. A lot of the background “whoa-oh”s are sung off-key, and the main vocals tend to get buried in the mix. However, the CHUCK JONES side is solid AF. The recording is a lot punchier and clearer than SENTIDO COMUN’s. For both bands, all songs are sung in Spanish, though the insert is in Spanish and English. While the recording on the B-side sounds a lot better, I think it’s really that CHUCK JONES is more experienced? I don’t know anything about either band, but the B-side is a lot stronger than the A-side. Cool project, great idea, awesome band exposure. I do think it sounds weird being so clean without a live audience.

Scum Shots / Skappository DCxPC Live, Volume 16: Live at Mr. Beery’s split LP

Another live recording from DCxPC, this time featuring a skacore and melodic HC split. It’s not hard to see how these two ended up together. Their combined knuckleheaded angst sounds like something lifted directly from a mid-’90s pop punk sampler. Like their skacore peers, SKAPPOSITORY’s upstrokes, blue beats, and keyboards are a kind of musical insert to an otherwise punk affair. They’re driven by distortion and aggression, ska’s just along for the ride. SCUM SHOTS are equally loud and melodic (some of these riffs will burrow into many an ear), but have some of the bouncy rhythms of a skate punk band. The two guitars are putting their hours in, providing a big, chunky sound.

Some Kind of Nightmare DCxPC Live & Dead, Vol. 5 LP

Here’s a live and energetic offering from SOME KIND OF NIGHTMARE, who have been a band since the mid-’00s. Very tight and adept at their craft, the power trio graces the crowd with a throwback to the ’90s style of punk rock, like what you would find on one of those East Coast Pogo Attack videos. Socially-conscious lyrics channeled through polished, melodic street punk. As far as live recordings go, the quality here is top-notch. Fans of the band will want to track this down. 

Some Kind of Nightmare DCxPC Live Presents, Vol. 9 EP

When a live recording is old, it can prove to be an interesting piece of punk archaeology, a picture from and of the past, in which case I listen to them sternly with my glasses placed right at the tip of my nose, looking like a proper professor. When it is just a live tape from your mate’s first band, the interest does dwindle, though. I am not sure about this one. This EP is a decent (good, even) example of a live recording that can be played and enjoyed, assuming you are into bouncy, three-chord, ’90s-style spiky punk rock. SOME KIND OF NIGHTMARE is from San Diego, has been playing for a decade, and has quite a few records under their belt. I do like the raucous male/female dual vocals, but on the whole, I did not really relate to the music. Not unpleasant at all, I am sure they are sincere, and they do have some catchy tunes and relevant things to say, but just not my cuppa. This EP is part of a series released by DCxPC, a label from Central Florida aimed at documenting the local scene, which is always a good initiative.

Curtains / Swift Knuckle Solution DCxPC Live Presents, Volume 7 split EP

I’m not a big proponent of live albums from the listener’s standpoint—most of the time, they don’t measure up to a band’s other releases. Even when they’re good, they’re often issued in order to fulfill a label deal or to make some cash for defunct bands (no judgment, punks gotta eat). I can’t say this record is better than either of the featured band’s studio recordings, but it’s not bad either. CURTAINS are right at the stylistic crossroad of pop punk and hardcore (think LEATHERFACE or LIFETIME). SWIFT KNUCKLE SOLUTION is a more cut-and-dry hardcore affair. This is a good showcase for each and a good excuse to give DIY bands some more cash.

The Goons DCxPC Live Presents, Vol. 5: Live at the Black Cat LP

This label has been putting out quite a few live releases in the style and look of the old V.M.Live Presents records, and the GOONS might be the best one yet. I wasn’t super familiar with this band, but a good friend and native New Yorker informed me that they were an East Coast institution and a band that punks from all ages and scenes saw live and all liked (at least a little). Me, being an ignorant ex-Californian, was left clueless but curious. The songs are fast and beer-heavy, and you can hear them level this 2001 crowd with some Oi!/UK82 working-class-inspired hardcore, sorta like the WRETCHED ONES, 86 MENTALITY, or SUBMACHINE with a little mid-tempo POISON IDEA. The songs are catchy as hell, especially “I’m Alright,” “Hey You,” and “Every Day.” Snappy between-song banter completes the at-home live listening experience without the sticky boots and coughing up cigarette smoke. Real nice.

Grave Return / The Hamiltons DCxPC Presents, Volume 6 EP

Two songs each recorded live at The Danger Room in Orlando, FL. The concept of this series is very similar to the V.M.L. live series that was seemingly endless in the mid-to-late ’90s. In theory this is a cool concept, but as someone who doesn’t particularly enjoy live recordings, I’m not sure I’d pick this up unless I was a massive fan of the bands featured. As a collector’s piece though, this is limited to 150 copies and a nice document of a certain scene at a certain time and place, so that wins extra points with me for sure. The bands? GRAVE RETURN has a darker pop punk’n’roll sound; the HAMILTONS are “RAMONES-core.”

The Ratchet Boys Live From 1997–2001 LP

Pretty unreal collection of recordings from a DC ska troupe I had never heard of. Because I don’t pay attention to ska. Like…at all. But if the RATCHET BOYS are any indication, then that’s my fucking loss, because if you can’t get down to “Farragut North,” then I don’t even know what can help you—plus, “I’m gonna be picking up asses after the show” might be the best mosh call in history. Full horn section and a constant swing, this shit transcends your dislike (or fear…?) of ska and turns your life into a working class party. Released on CD twenty years ago, this LP is a tribute to their vocalist who passed away in 2007. Normally reviewers will say things like “if you’re into that sort of thing…,” but this reviewer is gonna suggest that this recording will win you over even if you aren’t.

Except You / Trashworld DCxPC Presents Live, Vol. 26: Live at Lou’s split LP

I often struggle with live albums and, (with a few exceptions, try to mostly avoid them. Inspired by the VMLive series from the ’90s, these DCxPC albums have an interesting origin story, so I was determined to set my judgemental ass down and give this a fair listen. To start with, I listened to the entire EXCEPT YOU side on the wrong speed. At 33 ⅓ rpm, they sound like a metal-tinged grunge band. At the proper speed, they sound like a metal-tinged punk band. The vocals oscillate between singing and screaming, with an operatic quality in both modes. I don’t know if this is just a holdover from my too-slow first listen, but I couldn’t help but think of BABES IN TOYLAND, if they were, er, sped up. They wind down their side with a cover of “Nazi Punks Fuck Off,” which is always a solid move. On the flipside, TRASHWORLD tends more to the moshy side of things, with some chugging guitars and breakdowns that verge on metalcore. The insert mentions this being their second show ever, which I would not have guessed considering how tight the songs sound. The standout cut for me is “Fuck the Proud Boys,” for the title alone. The overall quality here is much better than those old VMLive records, and this is number 26 in the DCxPC series, so clearly there’s an audience for live DIY punk. Who cares about my cruddy opinion anyway!?

The Sinema / TV Generation DCxPC Live Presents, Volume 2 split EP

Second edition of this live series modeled after the ’90s VML singles. TV GENERATION offers three hefty doses of snotty adult punk; mid-paced, snarky stomps that include a song about Uncle Lou’s—the Florida venue set to receive the proceeds from the sale of this single—and a DAMNED cover. Appropriately sloppy (it’s a live series, kids!), and even the cover somehow has the same “dragging the grown-ups through the mud” pace. On the flip, the SINEMA starts their whirling metalcore track with a mosh call: “I’m alright! / Up all night! / Do you wanna fight? / Fuck the alt-right!” and I’m at least paying attention. One wild, noodle-riff-centric track that delves a bit too far into commercial alt-metal (for my taste) with the quiet sing-y bits…but redeems (slightly) with the sign-off: “Cowboys can suck my cock! / Fuck the alt-right! / I fucked up!”

Two Man Advantage DCxPC Live Presents: Two Man Advantage LP

NY’s TWO MAN ADVANTAGE are one the metro area’s longest continually-running punk bands. They have a formula and stick to it: standard-issue hardcore punk with a hockey theme. This LP features songs from NYC and Las Vegas shows. Personally, I don’t like live albums. They seem unnecessary for punk songs, which typically don’t vary much between the recorded and live versions. The mix here is nothing special and the second set is especially poor. TWO MAN’s strengths, honed since the 1990s, are better captured on their studio albums.

V/A Locked in the Basement, Collection 1 LP

Locked in the Basement: Collection 1 is a gritty vinyl compilation that rips through 20 tracks from 20 underground bands in Bethlehem, PA and the surrounding area’s scenes. Born out of the pandemic and fueled by DIY ethos, this project is raw to the bone. The recordings are rough and unapologetic, capturing everything from crust to street punk, post-punk, and grindcore—so don’t expect polish, but get ready for a jolt of unfiltered energy. Standout cuts from ONE SIDED, ALEMENT, CHISELED LILLIES, RA!D, BRAZEN HELL, and PALE FANG tear through the noise, proving this collection isn’t about perfection, it’s about power. Pressed on blood-red vinyl with black splatters, the album also includes a booklet packed with fun stories from the bands’ sessions. Recommended for people who give no shits about recording quality and are interested in checking out what seems to be kind of a cool document of the bands playing in and around this scene since 2020.

Altercados / Xpunkha DCxPC & Punk Rock Mag Presents, Vol. 28 split LP

Two Costa Rican bands displaying their prowess in this latest installment of the prolific DCxPC live series. ALTERCADOS take a melodic approach to their uptempo, bass-driven punk rock. Plunky, with half-sung/half-screamed vocals, they bounce through their set with hints of hard rock and metal. The sound quality is great, but the tones are a bit clashing at times. XPUNKHA is more straightforward and aggressive, turning in an energetic performance that feels more cohesive. That said, these soundboard recordings leave something to be desired—namely, the sensation of being in the crowd. That’s a tall order for any live capture, but I can’t help but get hung up on this snag. It sucks the life out of the songs and leaves me with an impression of what the bands sound like, but no confidence in guessing what a studio recording could yield.

Year of the Fist DCxPC Live Presents, Volume 4 EP

YEAR OF THE FIST has been tearing up SF Bay Area clubs, dives, and public parks for nearly a decade now. They’re really good at what they do, playing a more metallic, GITS-meets-the LOUDMOUTHS high-energy gang tackle rock’n’roll kinda thing. This EP captures them where they rock best, in a live setting. I guess this was recorded by some blessed folks who kept smoky, filthy bar music alive in your home during the Plague by providing live streams of your favorite noisemakers. YEAR OF THE FIST are definitely no strangers to Albany (the city of cops), California’s the Ivy Room, and it shows by the comfort and ease with which they shred here, like it’s a crowd of hundreds instead of maybe five. “50 Ft Queenie” is my fave here. Keep on fucking.