Reviews

Debauch Mood

Balladmen Dear Old-Fashioned Rhythm LP

I find it a little disheartening that my last print reviews for MRR should start out this way. I know that over the years, I’ve been pigeonholed into the garage rock sphere, but I’ve been writing for this magazine for 29 years, and I can say to most: “I was a punk before you were a punk, punk.” This is roots rock music with an emotive singer who unfortunately reminds me of EDDIE VEDDER. It’s slick and well-played and Japanese and might come across better if I wasn’t feeling so nostalgic. But the heavy grunge vibe is just too much.

Daiei Spray Behind the Wall LP

Melodic hardcore from Japan that’s, at least in part, been heavily influenced by bands like DAG NASTY. The songs are all sung in Japanese, which to me is a plus. I think it sets bands apart when they sing in their native tongue, because while I may not know what they’re saying, it’s authentic and not just another (insert band here) clone. One last thing, I definitely hear the THUMBS in here a bit in some of the delivery and guitars and I’m super into it.

Soloist Anti Pop Totalization Soloist Anti Pop Totalization LP

In the 432nd and final issue of this magazine, we are still asking the age-old question: “What is punk?” Is it the chaos punk at the bar drinking corporate beer while high-fiving his friends and not giving a flying fuck that the serial rapist still comes to their shows? Is it lesbian separatists who attach contact mics to filing cabinets while they saw them in half? Is it historical reenactments of D-beat cassettes from 1982? Is it a guy from Japan making minimalist synth in his room? We may never have a definitive answer that will please everyone, and this synth guy probably doesn’t even consider himself a punk, but he sent his record to a punk magazine, so here we are. Anyway, SOLOIST ANTI POP TOTALIZATION is completely synth- and noise-based, recalling the early industrial era, when everyone was still trying to figure out their sound with limited technical capabilities. S.A.P.T. draws influences from DENDO MARIONETTE, PUBLIC IMAGE LTD and CABARET VOLTAIRE with almost monotone, barely affected vocals. Rarely abrasive, but it has a good, harsh beat. Is it punk though? Ask me if I care.

The Because Get Out Through the Back Door LP

At every turn on this LP, the BECAUSE channels the same humid yet sensitive roaring that I equate with noteworthy vintage acts via (ahem) No Idea Records and the ilk. Their devotion to the form is quite studied: there’s this barreling sound, anthem-focused, tension-and-release style. Trouble is, there’s no teeth, no deviance, barely anything punk beyond their mid-tempo charge. Underwhelming.

The Geros Weird Dance 12″

Continuing their streak of concocting peculiar tunes with no regard for the current musical climate, Osaka trio the GEROS flex and expand their pure punk energy on this first 12″ effort. Released on the Tokyo-based Debauch Mood label, Weird Dance offers a twisted and eclectic bouquet of songs both sharp and satisfying. A powerful and unexpectedly spooky opening number, “Pressure” sees the group’s trademark spunky charm bent into a heavy, creeping, and hollow lament. This hypnotizing and sophisticated track provides us with a jaw-dropping standout right off the bat. And I’m not mad at all that they follow it up with a repeat in “Toxic,” an encore presentation of a great track from their 2015 debut Genocide or Suicide EP on the band’s own Killer Boy label. The evolved GEROS deliver the explosive bratty chugger with a little more swagger and speed this time around. Kicking off the flipside, “Be Bop A Noiz” brings us both the silliest name and toughest riff of the year in its refrain, adding a new entry to the list of the band’s best songs. The jazzy jump of the instrumental interlude “Ikue” ends with some spoken word, the only words of which I can decipher are “punk rock” and its title, which I believe is in reference to Japanese composer and musician Ikue Mori. Finally, the electric R&B-flavored title track “Weird Dance” wraps things up by setting conflicted and violent lyrical content to a snappy beat to get the kids moving and grooving, as well as leaving initiated “Flat Tire Punk” weirdos like myself drooling for more. A few years back I was semi-obsessed with the idea of going to Japan solely for the purpose of seeing these guys, the RAYDIOS, X-DISCOS, XL FITS, and other incredible bands live. The compulsion has long since left, but when the mailman brings me records like this I can start to feel that itch again.

The Sleeping Aids & Razorblades Parallax View 10″

This Japanese power pop punk band has been around for five years or so. I can only assume they got their name from the EXPLODING HEARTS song. New wave power-pop with keyboard in the mix at times. Vocals in English, the songs here are pretty solid along the ways of later BUZZCOCKS as well as CLAP YOUR HANDS SAY YEAH vocally. Fans of Snuffy Smiles type pop punk will like this.