Reviews

Dead Broke

Adult Magic Adult Magic LP

With every song, it’s increasingly difficult to believe this is a three-piece. Maybe it’s because all three share vocal duties, but a lot of it has to do with how they fill space with their instruments. The drums are constantly covering open moments with crashing cymbals, though ricocheting in the lo-fi background like a white noise. The guitar is both fuzzed-out and clean, depending on the needs of the song, and oftentimes alternates back and forth within the same track. The bass, for me, is seemingly buried in many songs, but when I start to listen for it, the warm and stark tones were there the whole time. They’re abrasive, yet catchy as hell. Vocals mix from guttural to rough to melodic, and everything in between. In the first track, “Achin’,” there’s these wonderful little “ba-ba-bahs” slightly hidden in the background of the second verse, and I just love them. It’s a record that continues to deliver things you might not have noticed on the first pass through. Also, the opening of that first track reminds me a lot of “Tracks” by Portland’s DIVERS. ADULT MAGIC has a lot of big hooks that carry through, no matter the tempo of the song. Unsurprisingly, and almost unfairly to mention, I hear many moments akin to IRON CHIC songs (both bands share two members), but they’re delivered quite differently. Not even just that there’s different singers, but there’s more texture and grit to the ADULT MAGIC tracks, where IRON CHIC’s strengths are building a homogeneous wall of sound. I also love the guest vocals of Mimi Gallagher, especially on the song “Demotivation,” which took me a few listens to fully appreciate. This release took nearly two years to come to fruition, and the work they put into it is noticeable. Solid release.

Busy Weather Busy Weather 12″

Rough-around-the-edges pop punk from Asheville, North Carolina. For some of you, this says it all. For everyone else, a brief stylistic overview: the above description refers to a micro-genre of pop punk, mostly from the Southeastern US, typically without the smooth finish of an Epitaph or Fat Wreck release. There’s plenty of memorable guitars and vocals that are equal parts abrasive and melodic. The tempo rarely goes much over 150 BPM and sometimes it can slow to a sleazy crawl. This record competently covers all those bases. If you liked anything from ADD/C to FUTURE VIRGINS, this release sits comfortably alongside them in a crowded living room show.

Chilton Little Birds LP

There’s a whole helluva lot going on here. It’s spastic, metallic in a late ’90s kinda way. Lyrics are all over the damn place. Guitar solos are about every three to ten seconds seconds or so, with genre and tempo switches similarly paced. I kinda really hate it, but I gotta admit that it’s intense as fuck, and probably took collectively 30 years off of the lives of the members to create, and I listened to the whole thing and didn’t groan once. This is probably hot shit in some circles, and I can see why. It’s certainly proficient, dynamic, passionate, and played at breakneck speeds most of the time. It’s just a little too not-a-hair-outta-place-core for me.

Chinese Telephones Outta My Hands EP

Wow. If you like super catchy garage/power pop music, this will light you right up. Makes me think of GENTLEMAN JESSE, MYSTERY DATE, and SONIC AVENUES. Nicely produced, which, for me, means it’s done well, but not at all overdone. You can really feel the energy of the band through the record. That’s not always true. Really, an excellent record.

Cigarette Camp Chalk EP

The sound (and possibly the smell) of a midsummer show in a punk house living room; pop sensibilities played through a second-rate amp. The lyrics have the reflective melancholy of JAWBREAKER, but with music closer to AD/DC or JACK PALANCE BAND. CIGARETTE CAMP produces the hooks and minimalist harmonies needed to make this genre work. Fans of this end of punk should take note.

Deep Trench Deep Trench demo cassette

At first glance of the name, the cover art, and the opener’s instrumental, I thought this was some experimental, sci-fi shit—but I was way off. This is a grunge heavy-hitter served up from none other than Olympia, WA, with little else I can find on the band except that it features members of DOGJAW and RVIVR. The screaming lyrics come off like HOLE’s Courtney Love on Pretty on the Inside (controversy aside, just think of the voice). “Little Minds” is a good taster of the power within DEEP TRENCH.

Dimber Always Up to You LP

Debut LP from Los Angeles’s DIMBER. This sounds like if the lead singer of COHEED AND CAMBRIA started a melodic pop punk band, and was serious about it. Introspective, confessional lyrics, so that, with their style in mind, we get…an emo band? On the other hand, in a track like “Tyler” (featuring a different vocalist, I believe), I hear something closer to college rock, à la the DESCENDENTS. If you need an outlet for your sass and angst, here it is! The cover of “Better Off Alone” is hilarious and surprising, and made the whole thing worth it for me.

Doc Hopper Something Old, Something New, Something Borrowed, Something Blew cassette

Simply put, this album is a safety-pinned smörgåsbord of covers, original songs, and leftovers across the decades of DOC HOPPER’s reign, meant to be parsed through and enjoyed. You easily hear the band’s chemistry upon listening, as they create a punk language between themselves, usually an invention of bands who just know what the fuck they’re doing. From start to finish, it includes masterful screeching riffs, thundering bass lines, and excitable drums all starting and stopping along each other’s axis. Lyrically, it’s comprised mostly of hedonistic hail-marys spewed by vocalist Greg Hoffman, best demonstrated in the cover of “Drink, Fight, and Fuck,” by GG ALLIN, definitely making ALLIN proud if he could listen from hell. This release takes you for a joy ride, ranging from “Shirt…Lose It…Now” and its beautiful caterwauling guitar, to “The State of Maine Song,” which ends the party on a calmer note of comradery. Creating alcoholic anthems and punk rock classics since the ’90s, they maintain a similar sound to SINKHOLE, their New England scene peers, and even share drummer Chris Pierce. Overall, Something Old, Something New, Something Borrowed, Something Blew is a peak Frankenstein lab creation of punk hardiness through the eras.

Evening Standards Rainbow Shrimp cassette

I’m a total sucker for male/female vocals, always have been. While this is pop/power pop/folk music, it’s got a darkness to it. There’s a kind of jitteriness to the guitar which reminds me of SONIC YOUTH, and the harmonies have a somberness to them. At first I was unsure whether I liked it or not, but by the time we were midway through the third cut, I was hooked. Plus, the band name and the album name are pretty sweet.

Faulty Cognitions Faulty Cognitions demo cassette

I have always been drawn to the sound of bands’ demos, or their first album when it’s a mish-mash of the singles and bedroom recordings, more so than polished formal studio albums. Think of the BANANAS’ collection The First Ten Years of… having way more guts and heart than the albums which followed. Maybe it’s that bit of feedback, out-of-tune vocal, or bass flub that gets left in. Often the songs are played off-speed or faster than the album that follows. Don’t get me wrong, FAULTY COGNITIONS stellar album Somehow, Here We Are is already on a lot of top album lists for 2024, but the preceding demo has a gritty charm all its own. The opener “Las Cruces” has the anthemic heart-on-sleeve spirit of SHANG-A-LANG. The only track not included on the full-length, “Thin Blue Line,” bottles the anger of the DICKS as if it’s an homage to the recent passing of Gary Floyd. “Center of the World” shifts to a proto-punk pace like the ONLY ONES. The closer, “Let the Kids Have the Scene,” laments elder statesmen observations in a MENZINGERS-like style. All of this, packaged with cassette art reminiscent of Pettibon’s work on Nervous Breakdown.

Hidden Spots New Me/New You LP

As expected, HIDDEN SPOTS fucking delivers. Sure, it’s pretty melodic, which isn’t usually my thing, but the passion and positive energy that oozes out of this record are pretty damned undeniable. Eric’s lyrics alone can read like a call to arms against monotony, bigotry, greed, self hatred, or whatever else in this fucked up world has got you all flustered. A punk should never feel alone in this shitty world, knowing there’s a person as caring as him down in Tennessee. You know, it’s actually pretty hard for me to review this slab, because even though I’m a fan, I know that with this being so melodic, and produced so well, many a proper punk full of angst and with a lust for bile won’t give this the listen that it deserves. Do yourselves a favor and pick this up, pin the lyric sheet up over your bed, and drink plenty of water.

Laika’s Orbit Chosen No Ones LP

This band was new to me, but big surprise, they’re on Dead Broke Rekerds and they’re excellent. Somehow, those two qualities tend to walk hand-in-hand. LAIKA’S ORBIT is a four-piece power pop band from Western Mass, whose songs tend to circle around relationships, emotional well-being, and hooks big enough to snare a whale. When I first put this on, I was in a truly shitty mood, but by the end of these twelve tracks, I’d forgotten what was upsetting me in the first place. The singer of this band has such range and soul to his voice. While I don’t think he’s an Aussie, he reminds me quite a bit of the crooner from ROYAL HEADACHE, only without the slight reverb-y vocal effect put on. Towards the end of the record, they slow things way down with an acoustic romp called “Fryolator.” If this record was balanced the opposite way (heavily unplugged and with only one full-band electric song), I don’t think I would care for it much. But this rogue break from standard orbit is a welcome change of pace that I didn’t even know I wanted. “Laundromat” is the surprise standout for me. Not so much for the lyrics, pacing, or tempo—though those are all selling points. It’s the fucking guitar hooks. Something about the palm-muted riffs followed by ascending power chords really wins me over. Great record, definitely worth seeking out and spending some time with.

Mixed Signals So Far Gone cassette

MIXED SIGNALS have made an album that somehow bridges the gaps between gruff-voiced punk, dreamy pop, and THIS BIKE IS A PIPE BOMB. On the surface this shouldn’t work, but somehow it does and it is fucking rad! This cassette is limited to 100, so if this sounds appealing to you I’d try and grab a copy with haste before they’re on the internet for an outrageous price. It’s that awesome.

Moving Targets In the Dust LP

Somewhere in Boston, a divorced dad is excitedly knocking back beers over the release of this LP and jamming to his favorite local band, MOVING TARGETS. However, this is not me. I may not be the intended audience for this release, perhaps aimed at those who enjoy “melodic hardcore,” as the band puts it. They have a very loose definition of what hardcore is, with this album being composed of casual, almost pop-sounding rock—unfortunately, this is synonymous with being “background noise” in my terms. The album is unprovocative and placating, yet it certainly isn’t bad. It’s almost so cohesive and generally pleasing that there’s nothing particularly notable or interesting. This LP is surely better heard live for the full head-banging effect that is missing in the recording. The drums and tambourine in “Sacrifice” are fun. The singing-like riffs of the guitar near the end of “Decadent Side” and “End of The Line” suggest that the band does know how to take things up a level. If you’re into that sort of feel-good sunshine punk, then by all means take a trip In the Dust.

Moving Targets Humbucker LP

“It’s not disappointing” may not sound like a ringing endorsement, but in an era where many aging, or aged, rockers are attempting to get the band back together without understanding that their musical sensibilities and energy have changed dramatically, Ken Chambers doesn’t seem to have changed at all. While 2019’s comeback record Wires sounded very much like Brave Noise, this one is a little more poppy, very much in the Fall/Take This Ride realm. In fact, it’s so similar that you might wonder what the point is, like why did AC/DC put out so many records? (Answer: because people kept buying them.) If none of this makes sense to you, MOVING TARGETS, along with folks like DOUGHBOYS, BIG DRILL CAR, and PEGBOY, were one of direct ancestors of the melodic pop punk that gained widespread fame in the mid-1990s. It’s melodic and catchy but still driving and probably closer to ’80s hardcore than it is to the BUZZCOCKS. Should you start your MOVING TARGETS journey here? Probably not. But if you can’t get enough, have at it.

Nature Boys IV LP

Kansas City’s havoc-seeking NATURE BOYS come firing on all cylinders on their fourth LP to date. Fast, rambling Midwestern grit, buzzy guitar riffs—never slowing down—this trio is pure punk rock’n’roll. Suzanne and Evan hardly stop yelling at each other as Danny keeps everything tight, against all odds. They’re rowdy and infectious, like some DEAD BOYS and DEAD MOON hybrid, and it’s banger after banger.  Turn up and thrash out.

Notches New Kinda Love LP

Very ’90s-sounding indie rock. I loved this genre back then. I’m thinking SUPERCHUNK, ARCHERS OF LOAF, and even a little SAMIAM. New Kinda Love is this New Hampshire trio’s third LP. First time I’ve heard them. Dead Broke has become a pretty reliable label for us melodic guitar punk types. Great full-length.

On the Might of Princes Sirens LP reissue

Holy musical candy to my ears. I was certainly given music directly in my lane with the review of ON THE MIGHT OF PRINCES’ Sirens. Driving beats, plaintive vocals, melodic hardcore/emo sounding straight outta the best New Brunswick basement circa 2001 but with the polish and sheen of the likes of ENVY. The album opens up with a guitar riff on “No Sign of the Messiah (Pt II)” to set the emotional landscape of heartache those of us kids of the messageboards crave. Truth be told, I always knew of ON THE MIGHT OF PRINCES because of their proximity to so many bands I loved back in the day, but never got the opportunity to see them. This re-release is driving home for me the harsh reality that I truly missed out. Fans of THURSDAY, SAETIA, HOT CROSS, and, as I noted—partly tongue-in-cheek and partly dead serious—the messageboards of the aughts, will fall in love and put this on repeat.

On the Might of Princes Where You Are and Where You Want to Be LP

Monumental in some circles, 2001’s Where You Are and Where You Want To Be has been reissued with a few alternate takes and one previously unreleased track. On the one hand, I think this music is exactly why Tim Yo drew the line at STILL LIFE years ago—an emotionally and inwardly-driven band whose songwriting lent as much to melodic/indie/pop sensibilities as anything found lurking under any “punk” umbrella. On the other hand…who’s to say how big that umbrella should be (cue endless debate in 3, 2, 1…)? Not trying to peel away the importance (or quality) of the release, however. ON THE MIGHT OF PRINCES made ’90s screamo their own, “their own” enough that it holds up and sounds fresh and relevant twenty years later. The melody dominates, and songs flow between anguish and romance and harmless metallic riggage so smoothly that the entire record could almost be one opus (to be sure, this is the case for many devotees). The bonus material falls into the “fans only” category: the alternate versions are essentially just less-produced demo takes, and the unreleased cut “Hell or High Water” is good, but pales when compared to the rest of the record. Suffice to say, that this is not a release for me, but I openly acknowledge the importance, the impact, the intensity, and the void left by the loss of frontman Jason Rosenthal in 2013.

Outpatient Unreality cassette

There seems to be a crop of bands that are reinventing the early ’90s sound of “underground rock.” While a lot of these bands, to me at least, kind of miss the mark and end up sounding uninspired, OUTPATIENT isn’t one of those. Hooks, fuzz, “whoa-oh”s, a perfect marriage of early NIRVANA and the MUFFS. If I had one complaint it’s that four songs aren’t enough!!!

Permanent Residue Permanent Residue cassette

Slick and snotty pop-punk from Chicago featuring members of CANADIAN RIFLE. This tape looks like it was made by some goofy teens at Kinko’s and sounds like it was made by some punks with decades of writing and recording under their belts. The vocals oscillate between acrobatic and straight up obnoxious, but I think that’s on purpose. The instrumental interludes are excellent. Fans of FLESHIES, DILLINGER FOUR and the like will definitely want to check this out.

Permanent Residue Permanent Residue cassette

The second self-titled cassette by Chicago pop punkers PERMANENT RESIDUE, with four poppy, bouncing, mid-tempo numbers with angsty-sounding vocals. It’s at least one member from CANADIAN RIFLE going in more of a DISCOUNT/THIS IS MY FIST-type of direction. Songs are very catchy, and if any of the aforementioned comparisons are up your alley, then you’re probably going to like this. Personally, I think this style is at its best when the recordings have a bit of grit to them. This tape is too slickly recorded to allow me to relive my youthful pop punk enthusiast years and go gaga over it.

Porcupine What You’ve Heard Isn’t Real 12″

PORCUPINE have been kicking around the upper Midwest since 2006, and now feature one Greg Norton. Yes, he of the handlebar mustache. This six-song EP is straightforward, mid-tempo alternative rock, with a bit of that ’90s Brit-pop feel. The opening track has a nice, catchy chorus, and overall it’s pleasant enough, while not being particularly memorable. They do throw in one HÜSKER DÜ cover (“Standing by the Sea”), perhaps as a tribute to the late, great Grant Hart.

Prisoner Choose Your Delusion cassette

Imagine if you dealt with quarantine by locking yourself in a basement with a Casio keyboard, your guitar, a makeshift drum kit, and a Tascam four-track recorder, and the only thing you had to consume was a bag of Flamin’ Hot Funyuns and a case of Sparks. (But it was the old version of Sparks that had a higher alcohol content AND caffeine, taurine, and all that other chemical crap that the government made them take out.) Then you passed your days by composing a theatrical one-man band concept album that played out like the Rocky Horror Picture Show with JAY REATARD in fishnets playing the role of Frank-N-Furter to the audience in the mirror. That’s pretty much what Brandon Hamilton (PRINCE, DUDE JAMS) did in Austin, TX last year. Amazingly spastic, melodically demented, and pleasantly bizarre in a way that’s reminiscent of the early PHARMACY.

Radar Mess cassette

Four doses of classic and excellent melodic punk from NYC’s RADAR. Draw a line between SOVIETTES, BUZZCOCKS, and THIS IS MY FIST…you’ll find the seeds of these sounds sown along the way. While I think that the brutality of this year manifested in the form of brutal sounds is what I want, it’s entirely possible that RADAR is exactly what I needed tonight.

Radar Radar 12″

Brooklyn garage-y/power pop foursome out with their debut LP. Syrupy female vocals full of hooks over heavy riffing, trading lead lines back and forth between the two guitars—this is driving and fun the whole way through. Featuring members of MELTAWAYS, ADULT MAGIC, GIANT PEACH, and BACK-UP PLAN, to name a few. Catchy, crunchy, full of heart. Awesome!

Radon More of Their Lies LP

RADON is one of those beloved bands that was never very prolific, never quite went away, yet pops up every now and then to play a show and release some music. They were, at least in part, the foundation of the Gainesville scene, which eventually led to bands like HOT WATER MUSIC and AGAINST ME! This is their second LP since reuniting in 2005, and they haven’t lost a step. So many such bands settle into adult contemporary alternative rock. Not Radon, no siree. It may be a little more polished than the classic 28 LP (released over 20 years ago), but it’s still got lots of energy and will have you tapping your toes. Ripping pop punk from beginning to end.

Rivers Edge The Runaround cassette

The e-blurb from the label pretty much sums it up: “Region rock is alive and well in 2019.” Chattanooga supergroup drops their third full-ength cassette in as many years—infectious rough/melodic vocals, ultra produced and perfectly dirty wall of guitars, and more hooks than any self-respecting punk would know what to do with. If you know where they come from, then you likely already know the band. And if you like where they come from (SEXY, ADD/C, THIS BIKE IS A PIPE BOMB, FUTURE VIRGINS) then it shouldn’t surprise you when I recommend this release. I know their legacy is formidable already, but their craft is becoming dangerously refined…which is bad news for exactly no one.

Sewer Trout Meet the Sewer Trout LP

This rules. Full disclosure, I’m a little impartial, being friends with Hal MacLean and having shared hosting duties with him on radio shows forever. SEWER TROUT were legends from Sacto, California and included Hal and his late brother Jim MacLean. They were part of the Lookout! Records roster for a quick blur, but were always a bit more clever at songwriting and musicianship to be lumped in with some of the later “pop” punk ilk on that label. You can really hear elements of the BEACH BOYS and even the BEATLES or WOODY GUTHERIE here, along with contemporaries like CAMPER VAN BEETHOVEN, BLATZ, and the LOOKOUTS. Well ahead of their time, they cover timely political issues (“Coors For Contras”), gender dysphoria issues (“Vagina Envy”), and complex spirituality (“God’s Got Balls”). It’s a complete discography sorta, but still, most of the hits are here, along with some of Hal’s stellar artwork that’s been gracing well-deserving punk flyers and records forever. Cut short much too soon by Jim’s tragic death, their spirit lives on in the music and cheap beer. I think there’s even a tribute cover band now?! SEWER TROUT for president indeed.

Fleshies / Shellshag split EP

FLESHIES and SHELLSHAG have both been at it since the late ’90s, and both prove it’s possible for bands to keep moving forward, trying out new sounds, and continually recalibrating the things they know they do best, rather than resting on their punk laurels. Bands come and go, and there is value in the constant flux of a subculture built on ripping it up and starting again. But sometimes bands stick together and end up with not only the longest tour journal on the planet, but a cumulative consciousness of all the stuff that worked: all the sonic and social experiments that went right. So it’s not too surprising that they’d put together a record that is comfortingly familiar yet also weird and courageously original. The first track enfolds FLESHIES’ new downtempo, heart-wrenching, rock’n’roll anthem inside a cozy wrapping of what sounds like the influence of SHELLSHAG’s signature fuzzed-out dreamscape. The second track, also featured on FLESHIES’ most recent full-length, Introducing the Fleshies, changes gears with a brief but intense blast of unstoppable, furious punk mayhem. SHELLSHAG’s first track offers up a new take on their sound: way more dark and driving, but still incorporating distortion-laden team vocals and infectious melodies. The second track descends into an intense unraveling and re-tangling of all the brainwaves. If SHELLSHAG were a rock, this track would be all the cool, mucky, squirmy stuff living underneath it, and we are the excited five-year-old who can’t resist picking it up.

Snuggle! Holiday Heart LP

If this is your first introduction to SNUGGLE!, you’ve arrived at just the right time. I don’t say that to disparage any of their previous recordings (their full-length on 1-2-3-4 Go! is pretty fantastic, and they have a split with BENT OUTTA SHAPE), but more to heavily prop up this new release. Years ago I was neighbors with Jerome who sings in this band, which we found out by watching an abandoned squat house burn down in our shared alleyway together. I think the correlation here is that this band would watch the destruction of something so anti-capitalist, and still manage to pen an uplifting yet mournful anthem about it. The best I can think to describe SNUGGLE! is crust-informed pop punk. They have the speed that a lot of bubblegum punk lacks, but paired with sincere as fuck emotional lyrics about the human existence. I feel lucky that I’ve been able to see them play several times over the years, and am so happy there’s finally a recording of their song “Twinspeak.” The lyrics to this track are so emblematic to the comparison I made earlier: “Won’t let this be a crash and burn / From lift off, to return / Smoke rings fill the sky / Calligraphy to a night that understands / Understands gibberish.” It’s Aaron Cometbus’ modern day CRIMPSHRINE, but sung by a strong voice that’s raspy, nasal, and guttural. Sometimes Jerome’s voice breaks in a charming way that makes me think of what Bobcat Goldthwait would sound like fronting a punk band. They’re fucking great, and I’m stoked that we’re closing in on 2020 and there’s a new SNUGGLE! record in the world.

Somerset Thrower Paint My Memory LP

This is one of those bands that has been on my radar for a while now, but for whatever reason I’ve neglected to actually check out until now. Well, after listening to this record a few times now, I feel like an idiot. This is definitely something I should have been getting down with since day one. Heavy ’90s emo/indie rock vibes. Imagine a gruffer, beefier KNAPSACK. This just gets better each time I hear it. I’d put this up against any classic emo record any day. Mark my words, this album is going to be on “Top Albums of All Time” lists for years to come.

Spit-Take Falling Star 12″

This is absurdly poppy pop punk that hints at indie rock. Ranging from slow, melancholic, bummer tunes like the opener and closer to up-beat, melancholic, bummer tunes like “How,” to melancholic, bummer, pop anthems like “Five or Six,” this record covers a small amount of ground. Sung vocals that get pushed every once in a while play with simple guitar melodies on what is a pretty forgettable record.

The Bananas Don’t Go Toward the Light cassette

I don’t know what aspect of this is more shocking: that I was sent an album to review by a band called the BANANAS—that yes, it is that BANANAS, who have been around for something like 30 years now—or that it kinda rips? While long-term fans may initially be a little bummed that it doesn’t have anywhere near the lo-fi grittiness of the likes of Forbidden Fruit, there are a bunch of a-peal-ing things about this new album (yeah, I’m gonna make crummy fruit puns in a BANANAS review, let me have this one). It is plenty driving and catchy, gets wackily fast at times, and is sure to make any fan of this long-time Sacramento garage-y pop punk band smile. This was a delightful listen, the BANANAS have apparently been ripening just fine over their 30 years.

The Soviettes LP LP reissue

A reissue of the SOVIETTES’ first LP from 2003. For those unfamiliar, the SOVIETTES were a band from Minneapolis that played what could be described as pop punk with tons of harmonies, and everybody sang. I like to think of them as something similar to the BANGLES-meets-DILLINGER FOUR. They released two albums on Adeline (this one and LP II) and one on Fat before calling it a day. I was a big fan, and was able to catch them once while they were still active and once during their reunion run, and I am beyond excited that this record was finally reissued on vinyl. The fine folks at Dead Broke and Rad Girlfriend have done a stellar job with this reissue. It looks and sounds great!!!!

Toys That Kill The Citizen Abortion cassette

The debut from one of San Pedro’s best, given a cassette reissue for its twentieth anniversary. This album is still as great as it was when it originally came out. Rising from the ashes of the juggernaut that was F.Y.P., TOYS THAT KILL continued down the path of their predecessor by churning out snotty, fun pop punk that could have fit right in with the body of work of the previous band, and while Todd Congelliere’s vocals are unmistakable, it’s the addition of Sean Cole splitting up the vocal duties that really adds that extra element needed to not just write off this record as a new F.Y.P. album. Though twenty years have passed since this originally was released, it still sounds fresh, which is a feat especially when you consider the musical landscape twenty years ago—the mark of not only a great album, but a great band. If this album is not already in your collection and you’re down with cassettes, go get a copy now and hurry, because it’s limited to only 100 copies!

Iron Chic / Toys That Kill Split LP

I’d be lying if I said that TOYS THAT KILL didn’t have, and rely on, a dependable, bafflingly sturdy, formulaic style. Todd’s trademarked caterwaul, on top of his manic, monkey-mantra music, all with the same tempo and perfectly planned breaks, sandwiched between Sean’s more adult and smart songwriter-ish punk, gets a slight little twist with every release, and their shit somehow seems to never get stale. I don’t get it. It defies physics, and this little five-banger has left me wanting more, just like everything else they’ve done for the last dozen or so years. It’s still absolutely fucking killer. IRON CHIC, on the other hand, got lost on me. It’s pretty melodic, bearded and tight black t-shirt-clad (I assume), delicately growled type stuff. My appreciation for dude rock is light handed at best, and while you do get a few good whiffs of the ARRIVALS and that GRABASS CHARLESTONS/DALE AND THE CAREENERS LP—which are absolutely stellar examples of the genre, mostly—it just sounded like the rest of the stuff that makes up the majority of this sweet-yet-gruff bro’s handle on the style.

Velvet Horns All Heart, No Bullshit cassette

This kinda reminds me of some kind of Plan-It-X band, only louder and punker. You can tell by listening that they’re having fun playing and that in turn makes this a fun listen. The band features Mattie Jo from RVIVR on bass and backing vocals, and that’s a bit of a shame, because I enjoy their vocal stylings and just wish that they sang a bit more, but I’ll get over it. All in all, a fun listen, and the five songs here just seem to fly by. Cassette is limited to only 30 copies, but hey, that’s why we have the internet, right?

Iron Chic / Ways Away split 7″

It’s been a while since there’s been a new IRON CHIC track and this one does not disappoint. It’s a mid-tempo melodic masterpiece and everything one would expect from these Long Island punkers. WAYS AWAY offers up a track that is a great companion to the track on the other side. Melodic, bouncy, catchy. Good split all around. My only gripe would be that it’s a split single. Personally, I would have liked to have heard one more song from each band.

 

Prisoner / Witchcake split EP

This one’s a toughie. There’s not much here to condemn fully or praise highly—some well-enough crafted songs from two bands that sound competent and well-read. PRISONER is from Texas, but weirdly not from Denton, which is shocking given their first track sounds dead-on for a MARKED MEN tribute band, and the overbaked acoustic-driven second track sounds like BAPTIST GENERALS. “Ten Years Done,” which opens the record, is fantastic. Hard-driven and tuneful if not altogether original. WITCHCAKE, hailing from Mississippi, takes on a more garage-leaning psych sound replete with splashy wet guitars and underwater vocals. Oh, and a pretty groovy organ. They sound fine. All of these songs, save for the excellent opener, sound fine. It’s all fine. Carry on, garage dudes.

Your Pest Band Reflecting Board LP

Sometimes bands get it right with their album title. Reflecting Board is spot-on for this collection of introspective punky power pop tunes. It is mood music for when staying home and lounging seems like the right option. The album contains seven tracks that were released in Japan in 2021, now available on vinyl.