FREE hit counter and Internet traffic statistics from freestats.com
Neurotic Text

Monday, February 05, 2007

The future looks bright. Ted Haggard doesn't.

Contrast and compare time. Here, by way of Harper's, is disgraced Christianist scumbag Ted Haggard, attempting to justify his own personal sectarian hair-splitting and ill-concealed bigotry through an appeal to modernism and science:
"And the nations dominated by Catholicism look back. They don't tend to create our greatest entrepreneurs, inventors, research and development. Typically, Catholic nations aren't shooting people into space. Protestantism, though, always looks to the future. A typical kid raised in Protestantism dreams about the future. A typical kid raised in Catholicism values and relishes the past, the saints, the history. That is one of the changes that is happening in America. In America the descendants of the Protestants, the Puritan descendants, we want to create a better future, and our speakers say that sort of thing. But with the influx of people from Mexico, they don't tend to be the ones that go to universities and become our research-and-development people. And so in that way I see a little clash of civilizations."
Thanks, crosslicker. Now, what do the real scientists have to say about your faith after exposure to the fruits of all that research and development you value you so highly? Here's Richard Dawkins in "The god delusion" (published, incidentally, about the same time last year that bastion of morality Haggard was being exposed as a shameless liar with a meth habit and a penchant for male prostitutes):
"A study in the leading journal Nature by Larson and Witham in 1998 showed that of those American scientists considered eminent enough by their peers to have been elected to the National Academy of Sciences only about 7% believe in a personal God. This overwhelming preponderance of atheists is almost the exact opposite of of the profile of the American population at large, of whom more than 90% believe in some sort of supernatural being. The figure for less eminent scientists , not elected to the National Academy, is intermediate. As with the more distinguished sample, religious believers are in a minority, but a less dramatic minority of about 40%. It is completely as I would expect that American scientists are less religious than the American public generally, and that the most distinguished scientists are the least religious of all."
So yeah, maybe appeals to rationality and the advance of scientific knowledge aren't exactly the best way to ensure the continued strength of archaic theology after all, huh? Idiots.

Tuesday, August 15, 2006

Letter to the Georgia Straight

I won't claim to be surprised by the stubborn persistence with which StopWar's leadership insist on referring to themselves as "peace activists" and "the peace movement" in response to Terry Glavin's timely and much-appreciated piece on their organization. Apparently guided by a perverse misreading of anti-imperialist ideals, these cynical leaders of a bankrupt pseudo-left have functionally allied themselves with some of the most noxious and regressive ultra-conservative, fascist and theocratic elements to be found anywhere. This is their right as citizens of an open democracy.
What is not acceptable, however, is their continued abuse of the peace movement's good name to mask a completely partisan, anti-Israel, Hezbollah-sympathizing agenda that condemns the violence of one party whilst remaining overwhelmingly silent (at best) on Islamic terrorism, save the most impotent of bland per forma small print, and the deliberate targeting of civilians that is responsible for this current conflict to begin with. By allying themselves with the propaganda of fascists and terrorists, StopWar shamelessly betray any claim they might have to being a part of the honourable left, just as their blatant rejection of any even-handed or honest view of the war in Lebanon-- as evidenced nicely by both their letter in the August 10 Straight and the website it urges us to explore-- constitutes a forfeit of any right to be considered a part of the legitimate peace movement.

Monday, August 07, 2006

One Week Later.

Am I the only overtly pro-Israel type out there that, while deploring both apparently biased media coverage and Hezbollah's use of civilians as shields and useful martyrs, finds the eager rush to find fault with the Qana photographs to be distateful in the extreme? Clearly the initial casualty figures were over-reported and reliant on entirely compromised sources, but dead children are dead children, whether 28 or 60 of them. The only dignified response to a tragedy of this proportion is to express proper revulsion at such a waste of innocent life. This must be sincere, and it can be expressed quietly and properly, and it doesn't require one to forget that these events are ultimately to be held as Hezbollah's responsibility.
Even if Hez operatives are manipulating images and events to suit their agenda, I have faith that such behavior will become clearer to more observers as this struggle progresses. The squabble over the sordid details, be they precise casualty figures or coldly clinical analyses of the sun's position and clothing of rescue workers in horrifying pictures of dead children strikes me as uncomfortably reminiscent of the callous and deluded arguments of those who revel in pseudo-scientific absurdities to 'explain' the World Trade Centre attacks, or to deny the existence or scale of the Holocaust. Right now, regardless of Hezbollah's handling of news leaving Lebanon and the world media's arguable complicity in its own manipulation, to pass over the sheer futility and sadness of this and rather to seek a political angle from it is to appear to surrender the humanity that should be liberalism's greatest advantage over the forces of terror and sectarianism.

Sunday, July 09, 2006

Would you believe a few more punk record reviews?

A few more recent punk 7"s to have crossed my path....

LOOK BACK AND LAUGH "Street Terrorism" EP
Five songs of rather tedious flailing about from this Northern California thrash band, playing it fast and direct but ultimately coming up with little that sticks to the ribs. Reminding me of crucial outfits like Talk Is Poison, Deathreat and Life's Blood, this certainly should work as at least a competent genre exercise, but the similarities are all in the concept, and the execution unfortunately fails to realize the strength of the style. The guitars have a nice, raw sound and sometimes indulge in slightly more interesting melodicism, but they're nowhere near as overwhelming as they need to be for this style, and the vocals are simply terrible, sounding less angry than just forced. Above all, the record lacks any real spark, any tangible dynamics, memorable hooks or particularly impressive displays of power that might cause one to remember it twenty minutes after listening. By no means a truly bad record, just generic and forgettable. (Deranged; www.derangedrecords.com)

THE PETS "Sticky Situations" b/w "Never Ask For Help" 45
There are inarguably some bad band names represented in this post, but these Oakland cats have to take the cake for worst of the bunch...."The Pets"??? Christ, who won that particular bet? Luckily, the record is a hit despite the distressing self-handicap imposed by their inexplicable choice of moniker. A-side's a quick, punchy blast of pure American punk rock circa 1977 (similar to what Time Flys have been doing but referencing the point a few minutes later when people realized that yes, in fact, you DO need short hair to be punk), fast, simple and catchy as hell, while the flip is even better, a driving mid-tempo stomp that sounds like a primitive early Dictators track (not least of all due to the heavy Handsome Dickisms), or maybe something the Foreign Objects or Gizmos would've coughed up. This band is destined to record a great song about professional wrestling, I can just feel it. (Sweet Rot; sweetrot@hotmail.com)

THE VICIOUS "Obsessive" EP
Picked up this band's much-hyped first single last year and really didn't dig it at all-- very much in the vein of such current and recent fellow Scandinavian '77/'82 punk/hardcore retro acts as Gorilla Angreb, Regulations, Young Wasteners and Knugen Faller, but nowhere near as good as the standard consistently being set by the aforementioned, and somehow seeming a little less genuine, a little more contrived-- so I didn't bother with the LP. As with the LBAL EP reviewed above, I picked this one up primarily on the basis of strong reviews, here promising a real improvement over the debut, and that's definitely the case. Predictably reliant on now-stock Scandi influences, ie early West Coast American bands like Adolescents, Dead Kennedys, CH3, TSOL and the Dangerhouse roster, but even more slavishly than usual-- I had to return the needle to the beginning of the fourth song several times before giving up on identifying the no doubt totally obvious riff that it steals, and in the process realized that the riff fading out from the end of the third song is similarly borrowed-- although I'm once again unable to pinpoint exactly where I've heard it before! Anyways, original or not, all the elements of melodic California punk circa '78-'81 are here, from the clear, undistorted guitars and pummeling rhythm section to the snotty vocals and ultra-catchy, hook-laiden songs, and that's far more important to me than a little bit of unveiled inspiration from the right sources. Please note: it's becoming increasingly clear that this label can do no wrong. (Feral Ward; www.feralward.com)

Friday, July 07, 2006

Ugly Pop Hardcore Vinyl, 1998 - 2006

I used to do a punk rock record label that released nearly 20 records over the last few years (all vinyl, all the time!) and since I've been asked this stuff so often, I decided to sit down and write up a proper discography of our releases. The punchline-- I've taken the label off hiatus and will soon be consistently releasing punk vinyl once again on Ugly Pop, so take this as the story up until today, but not the definitive history.

UP001 V/A "Reproach: Eight Modern Hardcore Bands Cover Negative Approach" EP

(w/ DROP DEAD, SPAZZ, RUPTURE, CHOKEHOLD, MAN IS THE BASTARD, VOORHEES, UNION OF URANUS and KOPS FOR CHRIST) First pressing November 1998, 3000 copies with black and white labels, first 500 on grey marble vinyl. Second pressing around January 1999, 1800 copies with yellow labels. Insert. Approximately 6 test pressings.


Salvaged from the wreckage of a projected LP that should've come out on Dysgusher circa 1993, this record isn't good, but Brannon liked it, so I'm happy, and selling nearly 5000 of your first release is a hell of a way to start a new label.

UP002 LEGION "Hell at Last" EP

1000 copies, June 1999. Approximately 6 test pressings.

I'm still pretty embarrassed by this record's idiotic label artwork; taking it into the plant was a real treat.

UP003 MARILYNS VITAMINS "Meanwhile During the Class War" EP

First press June 1999, 600 copies. Repress of 500 copies, November 1999. Approximately 6 test pressings.

Great record from an excellent band with the worst name in the world.

UP004 RAJOITUS "Systeemiin Naulittu" EP

1000 copies, November 1999. Possible repress of 300, late 2006? Approximately 6 test pressings.

Later included on the band's discography CD on Hardcore Holocaust, but I really should press 300 more to fill the remaining sleeves, because it's a great little slab of pure '83 Finnish hardcore (via Sweden 1998).

UP005 THEY LIVE/COUNTDOWN TO OBLIVION split EP

1900 copies, April 2000. Approximately 10 test pressings.

Along with the Legion EP, this is is probably the fursthest we ever ventured from our purist hardcore punk focus, but it's still a good little record that sold well.

UP006 DREAM DATES "Moans on the phone" 45

600 numbered copies, December 2000. No test pressings.


This is honestly one of the best Canadian punk singles of all time, and it's incredible that it took over twenty years to see the light of day; we had no idea how it would go down, so pressed only 600 copies. Later licensed to Zurich Chainsaw Massacre, who proceeded to put both Dream Dates 45s on a 12" and have yet to send us any of the copies they owe us.

UP007 RAW POWER "Screams from the Gutter" LP

First pressing 1000 copies, February 2001, with insert and black/white labels. First 300 on clear splatter vinyl. Second pressing of 500 with red labels, replaces insert with printed inner sleeve, late 2001. Third pressing of 500 circa early 2004. Possible repress of 500, late 2006? Approximately 6 test pressings.

Our first LP, and a killer at that. Probably the best Italian hardcore LP ever, and a seminal crossover record by any standard. Totally different artwork to the Toxic Shock pressing, which sold around 40 000 copies in the '80s. It's true-- sometimes, all you have to do is ask.

UP008 STATICS "Original 1980 Punk Rock Recordings" EP

800 numbered copies, April 2001. No test pressings.

A really great, strong little punk single that deserved far more attention than it ever got.

UP009 PAINTBOX "Singing, Shouting, Crying" LP

First pressing of 1600 copies, April 2001. First 300 on white splatter vinyl. Repress of approximately 500 circa early 2004. Approximately 6 test pressings. This record never included an insert.

When all is said and done, people will very possibly say this Japanese hardcore monster was the best record we ever released.

UP010 DFA "Destined For Assimilation" 12"

First pressing of 600 copies, January 2002. First 300 or so on various shades of purple and blue, since we went to the pressing plant and added the colour pellets while pressing! Repress of 500 circa July 2002. Printed insert. No test pressings.

This was a straight vinyl pressing of the demo this Saskatchewan band sent us out of the blue.

UP011 DREAM DATES "The Mess You're In" 45

800 copies, March 2004. Seven test presses, mistakenly pressed on red. All regular copies on black.

Vinyl actually pressed in early 2003, but released when jackets printed.

UP012 CAREER SUICIDE s/t LP

100 test pressings with initial recording pressed for European tour, September 2003. Four used as test pressings, 96 stamped and given sleeves for tour. After rerecording and new mix, first pressing of 312 copies released November 2003. 500 more pressed a couple of weeks later, and third press of 300 around January 2004. Printed inner sleeve.

All regular pressings completely identical. Later repressed on 140 G vinyl with embossed jacket by Parts Unknown.

UP013 HAMMER "More Hammer" EP

1000 copies, March 2004. Insert.

Vinyl pressed mid 2003, held pending jackets.

UP014 WARHEAD "Kono Omoi Wo Dokoe" LP

First pressing of 1400, April 2004. First 111 copies on a beautiful blue/white marble swirl vinyl. Repress of approximately 500, July 2005, last 40 or so did not include printed inner sleeve. First set of approximately 12 test pressings, second set of same size from remaster.

After we traveled literally across Japan tracking down Guy Bloodsucker in Hiroshima to make this happen, it became a nightmare project plagued by rejected test pressings, broken plates, 2000 unusable LP jackets, wrong paper for inner sleeves, labels on wrong sides and missing text on sleeves. Our first and last Acme Records job.

UP015 FORWARD "Fucked Up" 12"

First pressing 500 on red vinyl May 2004, rushed out for summer 2004 US tour. Remastered for second press of 500 on black vinyl, circa July 2004. First set of approximately 12 test pressings, second set of same size from remaster. Printed inner sleeve.

Jacket has a file-transfer error from original CD cover, but we couldn't really care less.

UP016 HONG KONG BLONDE "Split Finger Fastball" EP

600 copies pressed, August 2004. First 100 on green marble vinyl.

Great Vancouver metal/thrash; some junkie recently stole the last remaining 40 from their car.

UP017 CCSS "Commun Chfeu Sa Soupe" EP

600 copies pressed, April 2005.

Ugly Pop essentially ended as this record was being released, meaning that both it and UP016 were never repressed (since our new pressing plant doesn't hold onto plates as MMS, which had done all previous 7"s, did). Both should've had represses of 400 more copies, and the jackets were printed.

UP019 TRANZMITORS "Look What You're Doing" 45

First pressing of 300, March 2006. Identical second pressing of 300, May 2006. Probable repress of 400 to fill sleeves, summer 2006.

This was originally meant to be the debut release on Cat Call Records, with the Ugly Pop catalogue number intended simply to facilitate distribution.

The future: Ugly Pop is back from the dead. Hopefully, a Teenage Rejects EP, as well as singles from local faves Fuck Me Dead and Vancougar. Also, represses of some still-in-demand earlier titles for which plates are available and unused print is still in stock.

Wednesday, June 28, 2006

Society Dog "....Off the Leash" EP

For all the continued interest in '70's punk and '80's hardcore, the bootlegs and reissues and websites and discographies and cover versions and fanzines, there are still many great records from the period that have yet to attract the attention and credit that they deserve, and this 1981 EP, their second, is a fine example. With its surging guitars, sneeringly sung vocals and rough melodies, "Off the leash" is very much a '70's punk record, but the rawness and increased pace of the delivery indicate that it's not the '70's anymore after all. Society Dog's sound is very much like that of their peers the Subhumans, Black Market Baby, Negative Trend and Really Red, and they would've been a perfect fit on the "New York Thrash" LP alongside Kraut and the Undead; this is "hardcore" in its very first incarnation, about 10 seconds before the Dead Kennedys, Bad Brains and Minor Threat would push it into straight thrash territory.
Prior to this, the band appeared on the "SF Underground 2" comp EP in 1980 and issued a debut EP, "Working People", also in 1981. This was the short-lived outfit's final release, but vocalist Johnithin Christ (whoa sir, lay off the cheese...) soon surfaced with new band Code of Honour, who achieved a great deal more notoriety than Society Dog through their highly rated 1982 split LP with Sick Pleasure (aka COH minus Christ), "What are we gonna do?" EP (1982) and rather unfortunate "Beware the savage jaw" LP (1984). Every record listed here was on Subterranean, who have every right to their claim to be San Francisco's first hardcore label.

Bearded vegans and punk: mutually exclusive since 1975.

Went to see Imperial Leather the other night, and I never did end up seeing these Swedes deliver what was no doubt a perfectly good set of retro punk rock, because I simply couldn't last through the opening band, a dreadful North Carolina "Crimethinc"/trustfund act called Requiem. Seriously some of the worst shit ever from these hippies; the tepid, overwrought drudgery of their "epic crust" (no, seriously...so NOT FUCKING PUNK) music, the sheer grossness of their filthy clothing, beards and dreadlocks, the pathetic, unexamined idiocy of their fantasy pseudo-politics.
"Steal what you want, burn the rest" read the banner they hung behind themselves, and I couldn't help but think just how wholeheartedly their current administration has embraced that philosophy this century, from Iraq abroad to the whole mechanism of progressive and forward-looking social policy at home. I guess that basic impulse transcends simple ideology where Americans raised with the same underlying sense of entitlement umarried to any concept of responsibility are concerned.

Tuesday, June 06, 2006

Fight Terror, Not Immigrants.

"Islamophobia Watch – and the dense chunk of the hard left that adopts a similar approach – is trying to redefine consistent atheism as a form of racism. I believe that the idea of God has been a disaster for humanity, and any person who bases their morality on the writings of hallucinating pre-modern nomads is going to have pretty warped values. Islam is no worse than the absurdities of Christianity and Judaism, but it is no better. Yet Islamophobia Watch call the National Secular Society – which campaigns on this basis – 'bigots'. But how is criticising a set of ideas that people choose to adopt and can choose to abandon akin to attacking people on the basis of their skin colour?
The real racism comes from Islamophobia Watch itself, and the people who parrot their claims. Where Tatchell treats Muslims as the equal citizens of a democracy, people with open minds and a free intelligence, they treat Muslims as feeble children who cannot cope with the scorn we routinely (and rightly) pour on Catholics and Protestants. They argue that Muslims are so sensitive and uncurious that their ideas must be ring-fenced from criticism, with the police arresting anybody who vehemently criticises their beliefs. "


--Johann Hari

When I read Hari's piece, excerpted above, on the phenomena of ostensible progressives using charges of "Islamophobia" as a device to strike down any criticism of Islam as a faith (and of Islamism as a political ideology), and the obscenely illiberal and intolerant views and practices that are too often buttressed by the religion, I immediately wanted to write about it here. Twenty minutes later, it seemed that every other blog in the world had the same idea, so I just went and wrote about more records instead. Nonetheless, the events that transpired around Toronto this weekend served to suddenly and dramatically emphasize the need for two points to be fully understood-- points that are in no way contradictory and are, in fact, perfectly consistent ideas for any rational progressive to hold.

First off, the threat of domestic terrorism, in Canada and elsewhere in the secular, democratic West, remains real and present, and to pretend otherwise for partisan political reasons-- to decide that it's all just conservative fear-mongering a la the American Republicans and their colour-coded alerts and carefully managed public dread for political leverage, or that it's just a frame-up of innocent Muslims by an inherently racist Canadian society-- is wishful thinking of the worst sort. There are people in this country that wish it, and us, great harm, and a disproportionate number of them are under the influence of politicized Islam. To point this out is not "Islamophobia" or simple bigotry.

Secondly, the existence of these dangerous elements in our society is in no way an indictment of multiculturalism or the liberal immigration policies that have made Canada a prosperous, safe and pluralistic society for people of all creeds, colours and faiths, regardless of what America's ugly right and their domestic parrots have been insinuating with renewed vigor since the alleged plot was cracked. The conservative charge, expressed with varying degrees of openess and sophistication, that immigrant populations are teeming with terrorist sleeper cells-- countless potential British Columbia Taliban, jihadis waiting impatiently to conduct martyrdom operations in the West Edmonton Mall-- is poisonous and divisive rhetoric, equally as noxious and politically motivated as wilfull ignorance of real threats.

As we've read over and over these past few days, Muslims comprise about 2% of Canadians, which might seem insignificant at first blush but is still a considerable number when discussing a national population of around 33 million, and the number who are involved with or support terrorism here is miniscule. Once again, this certainly isn't to argue that we can safely ignore those who do harbour such views and the will to turn their beliefs into violent action, but simply to say that it's a matter for police and intelligence to deal with and, furthermore, that public security agencies can only be exponentially more effective when dealing with immigrant populations that feel integrated and accepted as citizens with an equal stake in their country.

I was reminded forcefully of this idea by an excellent and succint letter written in response to Globe and Mail journalist Christie Blatchford's dry dismissal of the Toronto police and their emphasis on protecting mosques in the aftermath of the arrests. At least one area mosque has been vandalized since the raids, no doubt the work of racist thugs looking for any excuse to intimidate and insult minority Canadians, and Blatchford feels that diverting police resources to protect these buildings is a mere politically correct sop that avoids the real issues here:

"It's those bastard vandals...who yesterday morning broke windows at a west-end mosque who stand before us as the greatest danger to Canadian society. As
Toronto Police Chief Bill Blair, who came to the building to offer his
assurances that Muslims and Muslim institutions will be protected, said at one
point: 'Hatred in any form and certainly its expression in violence and damage
to property will not be tolerated.' Thank God: Windows everywhere in
Canada's largest city, especially windows in mosques, are safe. The war on
windows will be won, whatever the cost".

However, no one writing on the front page of the nation's premier newspaper should be so ignorant as to mistake windows broken in this spirit for simple mischief. The point behind such actions is to intimidate and divide, and the tensions raised by events such as this weekend's are readily exploited by the worst among us on both sides of the fence, be they Islamists eager to convince Muslim Canadians that they are oppressed and unwelcome or right-wing extremists seeking to isolate minorities and foment racial discord. It's in everyone's best interests not to let this happen and to prevent any attempt at disrupting Canada's social fabric, and Chiu Lee summed this up elegantly with a mere two lines in today's Globe:

"Christie Blatchford mocks Toronto Police Chief Bill Blair for trying to win the
'war on windows'. She could recall one occasion when that was was lost:
Kristallnacht."

Let's not allow anyone to tell us that effectively fighting terrorism has to mean scapegoating or abandoning our own immigrant population any more than sensitivity and tolerance require us to turn a blind eye to the abuses of unreformed fanatics and zealots within those communities.

More new punk records.

This past weekend's quick roadtrip to see Warhead and Forward in Portland wasn't quite quick enough to prevent Scotty and I from going a little nuts in the vinyl consumption department, believe it or not, since Portland is an absurdly rich city in terms of record shopping. Reissues and the specifically Discharge-inspired stuff have been covered already; these are just newer/recent records that fall into the broader punk/hardcore/garage genres. Thanks to Jesse at Know Crap (who is a king among men and actually sold me most of the following titles on the way to Portland anyways, freeing me up to spend $40 on Hellhammer 12"s), Mississipi Records, Green Noise, Brickwall and Discourage.

Asbest "Klaust Robofi" EP
Denmark's been making punks around the world sit up and take notice for a few years now, with bands like Gorilla Angreb, No Hope For The Kids, Amde Petersen's Arme and Young Wasteners releasing some of the more compelling hardcore/punk records to appear in awhile, and although Copenhagen's Asbest haven't attracted quite the attention of some of their better-known compatriots, their first EP won respectable reviews and being on leading Danish label Kick n'Punch guarantees a certain level of interest (if not quality, unfortunately, as anyone who took the plunge on the label's more juvenile anarcho/vegan nonsense can attest). This second EP continues in the style established on their first, a hefty early '80's-rooted hardcore that avoids thrashing in favour of a consistently burly and aggressive mid-fast attack with raw vocals and a frantic, off-kilter guitar clearly inspired by Greg Ginn. It's solid, serviceable stuff, but somehow misses that spark that separates the good from the really great. (Kick n'Punch, www.kicknpunch.com)

Busy Signals "Can't Feel a Thing" b/w "All the Time" 45
Chicago punks defy the sophomore slump with a truly great single that's even better than the first, and that's no easy feat. The formula is simple enough-- classically raw punk rock'n'roll guitars, alternately ringing and slamming, and melodic vocals over a piledriving rhythm section that rams the songs home so much faster and harder than is standard for the style-- but it's totally convincing and never forgets to keep the songs catchy and memorable, nor to throw in a tasty lead exactly where it belongs. I'm loathe to raise expectations too high for a band so early in their career, but I don't think it's too much to say that this could be America's long-delayed answer to Teengenerate. Absolutely essential punk rock and sure to make my 2006 Top 10. (Shit Sandwich, www.shitsandwichrecords.com)

Criminal Damage s/t 12"
Yet another winner from the best hardcore label in the US today. I saw Criminal Damage play a house show in Portland last year and greatly enjoyed their set of tough but tuneful hardcore punk at its purest, but this is a style that's too often sterilized and neutered in the studio. No worries with that here, however-- this debut 12" is an exceptional eight-song set of overwhelmingly power and depth, with an ideal production job that perfectly captures the massive guitar sound and gruff vocals while leaving everything suitably rough and unrefined. There's certainly melody on this record, in the vocal and leads, but no nuance to speak of-- from the relentlessly tight and driving 4/4 drumming to the gang choruses to the brickwall powerchords, everything is completely solid and about as subtle as a riflebutt to the face. I guess the chief stated influence here is the "Chaos en France" oi scene of the early '80's (think Trotskids, Camera Silens, Warrior Kids etc)-- and the chorus of "Last chance", along with "Anesthesia" my favourite song here, so strongly recalls Kidnap's classic cut "No SS" off MRR's "Welcome to 1984" comp LP, that I probably would've thought so even if no one had told me so beforehand-- but most will see the closest resemblance to Blitz, tougher Italian bands like Nabat, and the early American hardcore bands that most unabashedly reflected UK oi in their own sound, ie Effigies, Negative Approach and Iron Cross if the latter didn't suck. This will probably appeal to a pretty wide range of punks right across the board, so check it out without hesitation (unless you're only into grindcore or emo or whatever, in which case you're probably beyond help anyway). (Feral Ward, www.feralward.com)

Frantic "Attaque of the Grizzlie" 12"
This Atlanta band's 7" EP was a fun set of manic punk rock that reconciled the garage and hardcore influences as well as anyone, but this follow-up doesn't quite hit the mark. It's by no means a bad record, it just doesn't stick to the ribs the way this stuff needs to. The choice to cover a song by Government Issue-- most boring of the classic DC hardcore bands-- speaks volumes; try SOA or Void next time. The playing is fine and the guitar tone is great, but there simply needs to be more punch in the overall delivery, whether that means slowing down and focusing on melody or speeding up and relying on sheer impact, but for now the songs aren't ultimately strong enough to warrant repeat listenings for a full-length. On the other hand, the inspired cover sold me on this record, so props to whoever designed it. (Die Slaughterhaus, dieslaughterhaus@yahoo.com)

Knaughty Knights "Tommy of the River" EP
This is the fourth single from Memphis supergroup the Knaughty Knights, and given the pedigree-- members of the Oblivians, Reatards, Lost Sounds and Compulsive Gamblers-- it's pretty lame to admit that this is the first I've heard. It's pretty much what one would expect from the people involved, albeit a little cleaner and/or more straight-ahead in its basic, no-frills garage punk approach. This isn't entirely unwelcome; as much as I love the members' prior efforts, there's certainly no harm in laying off the distortion and chaos when the songs are well-written and memorable in their own right, as they are here. The fuzzed out guitars, quick tempos and sneered vocals are still in place anyway, just not half so exaggerated as before. The title track is the real winner here, a great '77 punker with a catchy chorus and a tasty lead breaks, while the following track is an appealingly amped-up Outsiders cover and the flip, Jack Yarber's sole contribution, is a pleasant enough but altogether less remarkable mid-tempo garage stomp'n'mope with a cool sneered vocal...I'm sure it'll grow on me further with the inevitable repeat listens. (Shattered, www.shatteredrecords.com)

Love It Or Leave It "Four Song" EP
Released by Vancouver's Clarence Thomas label, this far-flung but Bellingham-based outfit's debut EP is the sleeper hit of the pile-- a really strong, heartfelt punk record with memorable songs made up of excellent vocals, powerful riffs and a rock-solid rhythm section, delivered at a consistent, driving pace that never lags nor degenerates into simple thrash. The production is just about perfect, with the vocals neither buried nor too far upfront and the guitars ragged and thick. While the Avengers and Subhumans (Canadian, of course) might make for basic reference points, this pulls off the ideal balance between being at once a timeless pure punk record whilst remaining fresh and distinct enough to avoid being filed away as simple rehash or homage to any particular sound, and I've listened to it numerous times in the past couple of days alone. Don't know how many of these were pressed, but I doubt it was too many, so I highly recommend any fan of quality punk rock act now before the rest of the world catches on. (Clarence Thomas, bistrodistro@hotmail.com)

Nix "Speed Freaks" EP
Much anticipated second 45 from this Portland band continues pretty much exactly where the first left off, a one-sided job with three quick ones this time around, and considering that the previous single was among my very favourites of 2005, I'm not complaining. Assuming you weren't among the luck 300 to score a copy of that debut, the style is fast, catchy and raw punk in the vein of early Queers or Keith Morris-era Black Flag and if that doesn't sound good to you, you don't deserve to be buying reords anyway. Proof positive that inspiration and energy are more important than originality any day, and the lyrics dissing cokeheads and speed freaks are the icing on the cake-- something I've felt much more strongly since moving to the Pacific NW myself. Overall, it's a strong 45 that hasn't hit me quite so hard as the first one after a few listens, but it's still superior to 95% of product out there right now and more than worth tracking down. As with the first record, self-released with hand-written labels and no contact info provided, so I guess you'd better get yourself out to Portland fast.

V/A "No Bullshit Vol 1" EP
Richmond, Virginia's Direct Control have been receiving a lot of attention lately as one of the leading lights of the back-to-basic '80's hardcore scene, so it's only fitting that DC singer/guitarist Brandon should be compiling this sampler slab for his new No Way label. Side one kicks off with a generic but enjoyable blast of speed from Toronto's own Career Suicide before sliding into an even more furious burst of aggression from Osaka's Bad Dirty Hate, who take their name from the Nihilistics but actually dish out a much speedier and more direct attack than he older band; with its shrieking vocals and manic snare, this might be a little more at home on a 625 "fastcore" record than the sort of purist '82 hardcore comp I was expecting here. Their song is over as quickly as it arrived and the side is wrapped up with another predictably short, fast and loud rager from Brandon's other band, Government Warning.
Side two starts off with San Francisco's Strung Up, and they jump off the vinyl with a pair of rough, angry thrashers that recall Negative Gain or "Dealing With It"-era DRI-- totally pissed and violent with a thick rush of speed and choked out but legible lyrics. Good stuff, but the Direct Control song that rounds out the record is perhaps my favourite, with a steady, controlled speed and gnarly guitars that sound straight out of some obscure '83 midwest hardcore band. Speaking of which, this EP isn't quite a "Master Tape" for the new millenium, but it's a solid enough set of purist hardcore. At least two more planned volumes in the series have already been filled with like-minded bands; just remember what "compilation of current hardcore" meant in 1996 and be glad this stuff's happening now. (No Way, nowayrecordshc@gmail.com)