This is sort of a mixed bag. Some of the songs here exhibit the worst elements of heavy metal, whereas other cuts (“Fight for Your Life,” the title track, and “World at War”) are clear-cut, well-designed punk jams like those of YOUTH BRIGADE and TOXIC REASONS. Most of it is pretty good.
It’d be simplistic to compare this combo to the HÜSKERS, but suffice to say that they both play extremely fast pop music. At that point the comparison ends, as BRAILLE PARTY play very cleanly, though they don’t sacrifice a lot of power for doing so…just a lot of raunch.
These guys only border on post-punk as they tend to write mellow yet intense pop ballads. At their finest moments, they remind me of the VELVET UNDERGROUND or MAGAZINE. They have more interesting melodies, lyrics, and intentions than their current UK counterparts, and deserve attention (but maybe not here).
An admirable new release out of DC, with ten tracks, two bands on one 7″ EP. The EXILED have improved a lot since their recent tape. They do both thrashers and slow, grinding numbers with interesting effects that show versatility and imagination. They sound young but have potential—”Artificial Friend” is great. What ARTIFICIAL PEACE lack in production values, they make up for with some good lyrics and classic thrash in between the slower bridges and haunting background vocals. Hats off to “Think For Yourself.”
At last! This EP is classic DC-style punk, with strong production and strong material. The arrangements are original, with both fast and slow parts and lots of effects, but no power is lost. These guys had fun in the studio, and although they came out a different band, they came out with a great record. Play loud.
I like this new GI EP a lot better than their recent 12″. “Teenager in a Box” is a particularly brilliant track combining power, hooks galore, and good lyrics; “Sheer Terror” has some psychedelic effects; the others are supercharged thrashers in the DC tradition. Highly recommended.
This album witnesses an evolution in G.I.’s style from thrash to a decided “rock ’n’ roll” approach, and is not the band’s best moment. Their hilarious cover of “These Boots Were Made for Walking” aside, the songs here are largely un-catchy and lacking in punch. The lyrics provide intelligent commentary on social/political issues, but I’m still disappointed.
With more of a recognizable “D.C.” sound and a lot less metalish or rockish material than their previous release, this album rates highly with me. Although it’s supposedly a “live” recording, you’d never know it by the excellent sound quality, with all the detail there, cumulatively adding up to one powerful piece of vinyl.
GI seem to alternate releases between Dutch East and Mystic, this one on the former. Excellent production and melodic punk tunes are the hallmark here, and while you can still pick out that DC sound, they’ve broadened to reach back to punk roots, as well as even earlier (the WHO?), all without losing that oomph or character of their presentation. Interesting.
Abrasive, driving post-punk. Lots of guitar, sparse but full production, rhythms, and depressed lyrics. Is there something “D.C.” about this still? Perhaps, because despite the “down” aspects mentioned above, there is still an upbeatness to it all. Can’t put my finger on it—not sure I want to.
Sounds like the bad side of UXA. Lots of rock instrumentation with an okay, but too “tryin’-to-be-Siouxsie” singer. Dog likes it, though (says she’s better than Penelope), but Spinali says she’s off-key (and he normally likes any band with a female singer, regardless of quality).
This album is a little on the frustrating side. The VELVET MONKEYS seem to shift effortlessly from the sublime to the awful—classy ’60s-influenced psychedelic pop tunes (like “Everything Is Right,” the VELVET MONKEYS “theme” song, and “Any Day Now”) stand side by side with self-indulgent trifles (like “You’re Not There” and “Bad/Dirty Blood”). Their sound revolves primarily around a cool quasi-psych guitar and an ethereal organ, but it may not appeal to everyone.
This is a diverse DC-area compilation featuring bands from the ’81-’83 era, some of which are still around. You’ll get tracks from BLACK MARKET BABY, REPTILE HOUSE, 9353, LAST MINUTE, BRAILLE PARTY, VOID, G.I., DOVE, the CRIPPLED PILGRIMS, SCREAM, UNDERGROUND SOLDIER, and other lesser-knowns. My faves, other than SCREAM, are the mouldy oldies turned in by BEAVER, ASSAULT & BATTERY, and ARTIFICIAL PEACE.
