They’ve been a mainstay on the Fat Wreck Chords band roster since 1996, and yet after a seven-year hiatus and the recent departure of their bassist Spike Slawson, Swingin’ Utters have followed up their 2011 release Here, Under Protest with Poorly Formed. This new full-length LP is the first to feature new bassist Miles Peck and marks the band’s eighth studio album.

To be honest, I let this one spin in my car’s CD player for a good week, rarely hitting the “next track” button. The opening track, “Librarians Are Hiding Something,” is catchy as hell and sets that bait that hooks you in for the entire 14-track ride. Musically speaking, there’s a really fine line walked here, with the sound being just polished enough to sound really nice and rough enough on the edges to lay true to the street punk sound the Utters are known for.

“Greener Grass” hits with their ode to that Celtic sound, mixing an acoustic guitar bed with Johnny Bonnel’s rough-edged vocals. “Temporary Contemporary” is one of my personal favorites on Poorly Formed, as it may be one of the most straightforward and simple cuts on the album, but the guitar hook and vocals — especially during the chorus — really hits it home. “I’m a Little Bit Country” and “Military Barbara Billingsley” provide the lyrically comical and satirical element, and things end on a very mellow and unexpected note with acoustic cut “Sevita Sing.”

One small criticism of this album is regarding the vocal effects placed on Bonnel’s vocals on the title cut and the song “Brains” with what I can only call “Mike Ness echo effect.” This effect on the vocals does nothing but make the vocalist sound like Ness. Perhaps that’s my own personal irritation, since I’m not a Social D fan and really don’t care for Mike Ness’s vocals. But otherwise, this album is near flawless from beginning to end. A solid effort that’s truly enjoyable to listen to over and over.

(Fat Wreck Chords, 2196 Palou Ave., San Francisco, CA 94124)

SNUFF – 5-4-3-2-1…Perhaps?

Sometimes I’ll hear a band, pick up an album, enjoy it, and plan to dive deeper into their discography but never get the chance. This is the case with Snuff. I own Tweet Tweet My Lovely and fully love the hell out of it. But in the mix of finding new music and sticking with standards, I never checked out their older or newer material.

That’s why I’m stoked to be reviewing  5-4-3-2-1 Perhaps? Musically, I find their sound to be quite interesting and innovative. Mixing heavily drummed punk rock, melodic (yet hard-hitting) guitars, Hammond organ, and a single trombone, Snuff’s sound is extremely distinctive and bold. And then there’s drummer and vocalist Duncan Redmonds’ vocals — perhaps the most noticeable attribute to Snuff’s sound. Some might cringe at his vocal styling, but I find it fits in its own weird way. Unfortunately I was not sent lyrics to this album.

5-4-3-2-1 Perhaps flows much like Tweet Tweet My Lovely did in the sense that there’s a mix material that ranges from straightforward rock to blistering fast tunes. “Mumbo Jumbo” lights up the album with the fastest and hardest tracks, and is backed up by “Rat Run”, a more bouncy (yet solid) tune. The poppy “EFL” comes across with a sound like Madness (“The Sun and The Rain” comes to mind). There are two versions of “In The Stocks” featured on the album, one being the electric version that opens up the album, and the acoustic version that closes the album.

In all, a solid record that flows really well as a whole and only solidifies the fact I really should look into checking out their other albums.

(Fat Wreck Chords, 2196 Palou Ave., San Francisco, CA 94124)

GNARBOOTS – A.L.B.U.M.

Comprised of members of Bay Area musical outfits including Link 80 and Shinobu, Gnarboots have been wowing crowds all over northern California with their eccentric live shows for a few years now — although when comparing some of the live show clips on YouTube to the material found on A.L.B.U.M., there’s quite a notice able difference.
 Most of their live material is quite silly, to put it bluntly, featuring the band freestyle rapping and performing as what appears to be comedy band.

While some of the lyrical content and delivery is done in a whimsical style, the 11 cuts found on this their debut album have a downright catchy, straightforward punk sound that is quite impressive. I will admit that it took a few listens to get accustomed to the vocals on a few key tracks like “Japan 2” (can you say “tone-deaf”?). With some of the more poppy songs like “Martian Chronicles” and “Grown Ass Man” going into some of the harder tracks like “Tinnitus” and “Omnivore,” one would think that the flow of this album would be off. On the contrary, the mix of tempos from song to song gives the album a fresh flow straight through to the 11th track.

There’s definitely something oddly appealing about Gnarboots’ musical style — something I can’t put my finger on. The first listen was not that pleasurable, but as I tracked through A.L.B.U.M. a few more times, it grew on me like an acquired taste.

(Asian Man Records, PO Box 35585, Monte Sereno, CA 95030)

TOTAL CHAOS – Battered and Smashed

It seemed that after the inauguration of Barack Obama, many of those in the punk community took a step back in vocalizing their disgust for the American political system. Los Angeles-based punk rock outfit Total Chaos, however, show no signs of backing down from speaking out about the troubles that still plague our country.

Featured on Battered and Smashed is Total Chaos’s signature mix of punk rock and hardcore that they have been producing for 20-plus years. While Battered and Smashed is full of political commentary, such as on the tracks “Wake Up America” and “Political Recession,” the album also features more fun-filled and lighthearted tunes, including the singalong opening cut “Hooligan’s Holiday,” as well as “Do The Tony.”

Musically, the album is pretty straightforward in delivery. The band’s rowdy and raucous style adheres to the traditional hardcore punk sound, but adds stellar guitar work by way of some blistering solos featured throughout the album.

Just past the halfway point in Battered and Smashed is a surprise in the form of the song “Going Down,” which is reminiscent of Sublime with its mix of a laid-back ska guitar riff and beat with a blistering, up-tempo punk rock chorus. The guitar breakdown mid-song sounds very much in the vein of Brad Nowell, and by featuring lyrics about drug addiction and abuse, I definitely think this was a nod toward the Long Beach band.

Battered and Smashed has its share of good tracks but I found some cuts were too repetitive in lyric and song structure. Even with its repetitiveness, the album stays true to Total Chaos’s brand of punk rock – especially when it comes to the political and social content of the lyrics.

(Stomp Records, 1223 Blvd. Saint-Laurent, Suite 305, Montreal, QC H2X 2S6 Canada)

BRENDAN KELLY AND THE WANDERING BIRDS – I’d Rather Die Than Live Forever

It has been more than 10 years since Brendan Kelly joined forces with Chris McCaughan and Neil Hennessy to form The Lawrence Arms. While The Lawrence Arms continues to roll along as a successful Chi-Town punk rock outfit, the need to break out of the punk rock niche seems to be what Brendan Kelly is looking for in the form of the semi-solo effort I’d Rather Die Than Live Forever.
 
The album features Kelly on vocals and guitar with a backing band to fill in the blanks. In many respects, this album feels like a stripped-down Lawrence Arms album. This could be because Kelly’s vocals are so recognizable and synonymous with the band’s sound. That familiar Arms’ sound can be heard throughout the album, especially in cuts like “Doin’ Crimes” and “What’s a Boy To Do?”

Mixed in with some of the more punk-ish cuts are a few toned-down tracks. “Ramblin’ Revisited” comes across as a driving acoustic Americana folk camp-side tune, which is perfect considering Kelly’s vocals scream to be heard in a song like this. Other cuts off of I’d Rather Die Than Live Forever range from the more catchy selections like the opening track “Suffer The Children, Come Unto Me,” to more straightforward rock tunes like, “East St. Louis.” Even with Kelly not settling to one particular musical on this effort, the flow of this album works nicely. Each track seems to flow right into the next. A solid album indeed.

(Red Scare Industries, PO Box 13285, Chicago, IL 60613)

MIKE WATT: ON AND OFF BASS by Mike Watt

Three Rooms Press, 100 pages, hardcover, $25.00
 
Looking west from the shores of Long Beach, California stands the tall cranes of the Port of Los Angeles, and just beyond them sits the small portside city of San Pedro. It was in this city that author Charles Bukowski spent his last years of his life. It’s a place where the films such as Chinatown and The Usual Suspects feature some of their most memorable scenes.

For the punk rock movement of the early 1980s, it’s also the birthplace of the Minutemen. Unfortunately, the band’s existence was cut short when front man and guitarist D. Boon died in a car accident after the band’s van ran off the road in Arizona in 1985. Band mate and fellow San Pedro native Mike Watt went on to form the group fIREHOSE, as well as play bass in the revamped version of The Stooges.

Along with his love for music, Watt also prides himself as being a native and resident of San Pedro (his internet radio show is appropriately titled The Watt From Pedro Show). What is not commonly known is that Mike Watt has a love and interest in photography, especially capturing the environment that surround San Pedro. All of these things are examined in his photographic memoir, Mike Watt : On and Off Bass.
When I think of memoirs, especially those of rock stars and musicians, I think of a book full of stories from the road –- insight on the drama of being in a band, and a look into their youth and growing up. Basically, a book full of pats on the back and self-gratifying praise for being so lucky to do what you love (hopefully) for a living. This book, however, is the furthest things from that.

In these 100 pages, the focus is mostly on Watt’s amazing photographic images of San Pedro, taken from on land as well as at sea (via kayak): early morning shots of the Port of Los Angeles featuring the heavy coastal fog being broken up by the rising sun. Pictures of pelicans, seals, and seagulls resting ashore or on buoys. Images of cargo ships, large cranes, and other industrial equipment clash against the reflection of the water and the clashing of the waves. Watt’s ability to capture both the natural and man-made aspects that make up the community and elements that make up San Pedro really shines through.

Along with these amazing pictures, Watt also gives the reader a chance to read some insightful glimpses into being on and off the road — the emphasis being on the word “glimpse.” The written passages are quite short and small in detail. We also are given a few poems written by Watt. The diary passes span throughout the 2000s, and feature stories about particular performances, encounters with fans, thoughts on life, and his love for John Coltrane.

Mike Watt : On and Off Bass gives you a real down-to-earth look at who he is. It’s a very minimalistic look back at his life, combining the things he cares deeply about: San Pedro, music, and photography.  The book proves that you do not need to bash your fans over the head with anecdotes of how great your life has been — this simplistic approach makes for a refreshing and insightful read.

THE TURBO AC’S – Kill Everyone

Ah! A new Turbo A.C.’s album! Time to put it to the test! You see, I drive a 1973 Chevy Nova and usually the best way to test out a new punk or hard rock album is to drive down PCH (Pacific Coast Highway) with the windows down and the tunes cranking. If I tend to speed, as in the case of Motorhead’s Overkill, it gets a passing grade. If it doesn’t inspire me to put the pedal to the metal, it fails.


Kill Everyone starts with high potential, especially with the opening track “Feed You To The Sharks.” Kevin Cole’s vocals are super raspy and unique, and they really work well with the music, much like how awesome Tim Armstrong sounds with Rancid. As the album progressed I noticed that I wasn’t really cranking out the RPMs on the Nova, but I continued to enjoy this album. Tracks like “Ancient Chinese Secret” really blasts out that fast-paced punk sound, and “Forget Everything” has a definite Ramones feel to it. Another nice thing about Kill Everyone is how Tim Lozada’s bass guitar seems to drive quite a few of the songs like “Shut Up Pills,” “Live Fast Die Slow,” and “Into The Vortex,” Okay, so technically the it failed the Nova test, but this album does pass the test for being a really good punk rock album as a whole. It’s not a non-stop fast paced album but it has its moments. Quite an enjoyable listen.

(Stomp Records, 1223 Blvd. Saint-Laurent Suite 305, Montreal, QC H2X  2S6 Canada)

JELLO BIAFRA AND THE GUANTANAMO SCHOOL OF MEDICINE – Enhanced Methods Of Questioning

Holding back no punches against the status quo (as usual), Jello Biafra is back with the second release from Jello Biafra and The Guantanamo School Of Medicine. This five-song EP comes only a few years after the release of their first full-length release, The Audacity Of Hype.


Taking aim at issues including religion (“Invasion of the Mind Snatchers”), bio weapons (“The Cells That Will Not Die”), and the effects of Post Traumatic Stress Disorder on war veterans (“Victory Stinks”), the formula of Biafra’s iconic and infamous vocals along with the relentless punk rock onslaught of sound projected by the band provides for an rousing listen. The bass work of former Faith No More member Billy Gould drives a majority of the songs, along with the scathing lyrical content. Biafra really shines in the opening track “Dot Com Monte Carlo,” where he airs out his disgust with  his adopted hometown of San Francisco, California: “Where’s the gangs in the mission when you need em?/How ’bout some yuppie drive-bys for a change?” quips Biafra. As usual, the release comes with a Biafra-created poster-sized liner notes collage that one could look over for hours in amusement.

(Alternative Tentacles Records, PO Box 419092, San Francisco, CA 94141)

BRIDGE AND TUNNEL – Rebuilding Year

Melodic yet chaotic — Bridge and Tunnel balance the musical scales with their latest release Rebuilding Year. This collection of 10 songs run the gamut of musical expressions from one end of the spectrum to the other.


The album starts with steady paced and straight forward cut “Synchronized Swimming.” The melodic side of Bridge and Tunnel’s sound really comes out in this opening track, with its pedal and reverb effected guitars and spacy vocals. The opening track is followed up by “Harder Pill To Swallow,” another melodic track with a bit of a harder edge to the vocals. By the third cut, “Outgrowing Pains,” you’re bombarded by a faster paced track with the harshest vocals so far on the album.

Interestingly, there are breaks in this track that bring back that more mellow sound. This pretty much sums up Rebuilding Year’s feel, a delicate balance between melodic indie rock sounds and a hard edge screamo vibe. One of the more memorable cuts from this album has to be “Hands,” with guitarist and vocalist Rachel Rubino highlighting her softer and more melodic vocal range. This album really mixes it up –not predictable whatsoever. Great mix of various styles of music, all mixed and balanced nicely to end up with a really impressive effort.

(No Idea Records, PO Box 14636, Gainesville, FL 32604)

SEAWEED – Service Deck/The Weight

We’re taking this back to the 1990s with this one, ladies and gentlemen. You might have caught their video for the song “Kid Candy” on “Beavis and Butt-Head.” Maybe you’ve heard their cover of Fleetwood Mac’s “Go Your Own Way” in the Kevin Smith film Clerks. Tacoma, Washington’s Seaweed were quite active in the ’90s and fell off into obscurity — that is, until now. This two-song seven inch features the reformed band, including original vocalist Aaron Stauffer and guitarists Clint Werner and Wade Neal. Both songs pick up where the band left off with their mix of punk rock and grunge. “Service Deck” is full of catchy guitar licks and a addictive driving beat, while “The Weight” spotlights the drumming of Jesse Fox. Newer (and younger) fans, along with longtime fans should enjoy this small sample of the newly reformed Seaweed.


(No Idea Records, PO Box 14636, Gainesville, FL 32604)

SCREAM – Complete Control Sessions

When I was filling my diapers back in 1981, the Stahl brothers were forming one of the foundational hardcore punk bands to come out of the northern Virginia/Washington, DC area. Their debut album, Still Screaming, became the first full-length albums released on Ian MacKaye‘s Dischord Records. It was later in the decade that a 17-year old drummer by the name of Dave Grohl lied his way into vacant drumming spot in the band (he said he was 20) and would go on to play drums on the band’s last two albums in the late ’80s and early ’90s.

Now, 18 years after their last album, Fumble, Scream’s original lineup have reunited and released the EP Complete Control Sessions. While Mr. Foo Fighter himself Dave Grohl is not featured on this album, he did offer up his recording studio for the album’s creation.

The seven-song EP continues the band’s artistic progression, from their hardcore beginnings, to the post-hardcore sounds of their last album. “Stopwatch” opens the album with a catchy feel and strong back-beat and leads into another straightforward cut featuring group vocals called “Get Free.”

“Jammin at 606” (“606″ referring to the name of Grohl’s recording studio) is a straight throw-back to the roots of this band. It’s fast, loud, and raw. “The Year Bald Headed Singers Were In,” oddly enough, has a Nomeansno feel (as Nomeansno’s Rob Wright is known to dawn a bald head here and there), although I’m pretty sure Rob didn’t inspire the lyrics to the song.

For only reuniting a few years ago, they sound quite tight, and Peter Stahl’s voice is still in good shape. Not bad for taking an 18-year break.

(Side One Dummy Records, 1944 N. Cahuenga Blvd., Los Angeles, CA 90068)

FACE TO FACE – Laugh Now, Laugh Later

Nine years after their last studio album, Face to Face are out to prove that they haven’t lost their touch with their newest effort Laugh Now, Laugh Later. The SoCal punk mainstay spent most of the first decade of the new millennium on hiatus, and additionally lost their longtime guitarist, Chad Yaro. With Laugh Now, Laugh Later, Yaro returns to give his vocals and guitar work, making Face to Face a quartet.


The 11 tracks here feature Face to Face’s signature sound, especially Trevor Keith’s vocals and style of songwriting. The opening track, “Should Anything Go Wrong,” packs a powerful punch. With its fast tempo and impassioned vocals, it really draws you in. “Bombs Away” is a scathing commentary and call to action on the political landscape in America and the wars we’re fighting abroad. While most of the songs on this album deal with personal relationship mishaps and heartbreaks — like “Pushover” and “What You Came For” — the album doesn’t come across whiny or “emo,” thanks to the driving guitars, backed by a strong back beat and Keith’s strong yet melodic vocals. Those saddened by the four-year hiatus should enjoy this comeback album, as it’s jam packed with the trademark Face to Face sound.

(Antagonist Records, no address provided)

THE ADICTS – Life Goes On

After 35 years of being a staple of the English punk rock scene, The Adicts are still tearing it up. Amazingly featuring all original members, they’ve released their eight studio record Life Goes On. Being only familiar with their older material (mainly their infamous album Songs of Praise), I have to admit that this new album features a much more matured sound than that of their youth — although, there’s still strong evidence of that silliness and bouncy feeling found in so much of that UK punk from the ’80s.

That bouncy pop sound can be heard through much of the album, especially on songs like “Spank Me Baby” and the title track “Life Goes On.” The song “Gangster” throws an audible wrench in the sound of the album, with a sound that could be described as an electronically twisted acoustical piece likely to be found on a soundtrack to some David Lynch spaghetti western. There is a instrumental cut of “Gangster” featured as a bonus track at the end of Life Goes On. Otherwise, the album stays pretty consistent with The Adicts style of punk, very light hearted and carefree.

Musically, these vets of the UK punk scene still have it. It’s a fun album with a lot of sing-along moments that The Adicts have been bringing to us for over three decades.

(Century Media, 2323 W. El Segundo Blvd., Hawthorne, CA 90250)

Show Review: Bad Religion at the House of Blues, Anaheim 3/18/10

The year was 1980. Motorhead released the iconic album Ace of Spades. The US Olympic ice hockey team defeated the powerhouse Soviet Union squad in the infamous “Miracle on Ice” game.  Ordinary People wins best picture at the Academy Awards, and Americans elect California governor and former movie star Ronald Reagan to be the 40^th president of the United States. In 1980, the state of punk rock in southern California was thriving in the underground scene. Bands like The Circle Jerks, Black Flag, X, Fear, and The Germs dominated the Los Angeles punk underground, while Agent Orange, The Adolescents, and Social Distortion were running the show down in neighboring Orange County. It was at this time that Greg Graffin and Brett Gurewitz, a couple of high school students in the San Fernando Valley, started a band with fellow classmates Jay Bentley and Jay Ziskrout. This would be the beginning of a 30-plus-year history that would forever change the way punk rock would be perceived by the masses.

Bad Religion took the rough and nihilistic sound of punk and polished it up in a way that some punk puritans might have seen as being practically sacrilegious, utilizing vocalized harmonies in lieu of outlandish vocal stylings used by contemporaries such as Black Flag’s Keith Morris. Bad Religion’s lyrics (and lyrical content) also set them apart from the pack — most of their songs are topically geared towards social ills, religion, politics, and science. Their music makes you think, or, at the very least, makes you pick up a dictionary to find out just exactly what they are talking about (“Is your fecundity a trammel or a treasure?”). No, Bad Religion never tried to dumb it down for their audience.

For 30 years, fans have flocked to their shows to sing along to these anthems of deep intellect, and the scene was no different on March 18th as Bad Religion celebrated their 30th anniversary to a sold out crowd at The House of Blues in Anaheim, California. This performance was one in a string of southern California and Nevada shows celebrating Bad Religion’s milestone; 30 years that have produced 14 studio albums, countless tours, and accolades from fans worldwide.

To the sound of a roaring crowd, the band took the stage. The current lineup includes Greg Graffin on vocals, Jay Bentley on bass guitar, Brett Gurewitz, Brian Baker, and Greg Hetson on guitar, and Brooks Wackerman on drums. They started out the show with “Do What You Want” from their 1988 album Suffer, and that lead into “Overture/Sinister Rouge” from 2004’s The Empire Strikes First. This was the overall theme for the evening — a little bit of the old and a little of the new (no Into The Unknown either. Into The Unknown was a 1983 album that was a total departure from Bad Religion’s punk roots. It was a progressive rock album and has been widely denounced by the band in several interviews). Song after song, they performed a variety of highlights from three decades of making music.

Graffin asked the crowd if this was their first time seeing Bad Religion; approximately 20 to 30 percent of the crowd cheered, definitely a surprising amount. This fact was supported by the large amount of applause and crowd participation during more current selections like “Los Angeles is Burning” and “New Dark Ages,” as well as the lack of crowd participation during older songs like “Best For You” and “Change of Ideas.”

They also played a new track from their upcoming untitled album called “Resist-Stance,” which was well received by the cheering audience. For me, the highlight of the evening occurred during the last seven songs of the regular set: it started with “I Want to Conquer The World,” which led into “We’re Only Gonna Die,” “No Control,” “21^st Century Digital Boy,” “Resist-Stance,” “You,” and, lastly, “Generator.” The crowd responded with terrific enthusiasm, and it seemed as though the band could feel that energy. For the encore, they played “Fuck Armageddon…This is Hell,” “Infected,” and “Sorrow.”

For having been at it for 30 years, Bad Religion still puts on a killer show with a grip of energy. It’s clear that the band feeds off the crowd, and there was no shortage of electricity in the air. Graffin might have packed on a few pounds over the years, and his voice might have dropped an octave or two since the ’80s, but he still can belt out some of the oldest songs in the Bad Religion repertoire — although I noticed that during the song “Germs of Perfection” (a relatively new song), Graffin had some lyric cheat sheets at his disposal taped to the stage. Having Brett Gurewitz there to add that critical third guitar part really captures the full Bad Religion sound (Gurewitz usually only plays with Bad Religion at southern California shows due to his obligations at Epitaph Records). Hetson’s energy level is amazing — not only because he’s going on 49 years old, but also because he can jump around like nothing while belting out some stellar solos and riffs. I’m convinced he’s one of the most underrated punk guitarist of all time. Bentley and Baker dominate the left side of the stage with their own focused intensity. Bentley continues to look like he loves playing for the crowd as he displays a smile on his face through a good majority of the show, all the while bopping and hopping around the stage. Brooks continues to kill the drums with his tight, smooth playing — each time I see Bad Religion perform I’m continually impressed with his amazing drum skills.

Musically, these guys might be considered “old,” but they still can hit the solos, the “oozin’ ahhhs,” and the overall tightness that makes Bad Religion such a memorable band to witness live. I have to admit, there were a few “fuck up moments” throughout the show; I noticed that Hetson biffed it on at least one guitar solo (I noticed he shrugged his shoulders as he ended his solo as if to say to himself, “Eh, that sucked…oh well”). The guitar solo during “Sorrow” by Gurewitz didn’t sound right at all, and they did screw up the beginning of “How Much is Enough,” resulting in a restart.

When all was said and done, Bad Religion performed a total of 30 songs that well-represented their 30-year history. They can still put on an awesome show while achieving a sound that remains consistently solid, year after year. One can only hope they will quit while they are ahead; I don’t think us punk rock fans want Bad Religion to become the joke the Rolling Stones have become. But this night’s show is proof that they are far from being worn out and washed up. Will we see a 50^th anniversary tour in 20 years? Time will tell on that one. Truth is definitely stranger than fiction.

THE REVELING – 3D Radio

Driving melodic punk rock is what The Reveling is all about. Hailing from Brooklyn, their sound is filled with a certain working class rawness that fittingly represents their hometown environment.

Within the four songs featured on this EP it’s clear we are hearing the works of a musically tight band. Sean Morris’s vocals sound, at times, a bit like Tim McIlrath from Rise Against. I also dug that Dennis Murphy’s bass riffs were brought out in front during the recording process, especially during the first track, “Breadline.” All too often the bass guitar is thrown in the background while the guitars take the spotlight. Plus it doesn’t hurt to have Max Weinberg’s son (Jay Weinberg) on drums, as his work on this EP is stellar.

Their brand of punk rock falls along the lines of a sound similar to The Loved Ones and Gaslight Anthem. If you are one for good all out rock with no gimmicks, you might want to give this a spin.

(self-released, no address provided)

Interview: Intro5pect

Somewhere deep behind “The Orange Curtain” (a term we use here in southern California to describe Orange County) live the members of electro-punk band Intro5pect. These political punkers have been stirring up trouble since 1997 and are celebrating the release of their new EP, Record Profits, due out August 25th on A-F and GC Records.

“Originally, Record Profits was supposed to be released as a full-length a few months back, but a lot of negative stuff happened — both in people’s personal lives and with the band,” states front man Dave Small. “At some point, we realized that we weren’t going to be able to get the songs done in the way we wanted them to sound by the deadline we had set.”

What seemed to be the main factor in preventing Record Profits from becoming a full-length effort was the departure of bassist Gregg Arman. Arman left the band shortly after returning from tour in the United Kingdom, citing creative differences. Filling in Arman’s shoes on bass was LandonHell.

“This past year has been quite difficult for the band,” says keyboardist Sara Zaidi, “with the absence of Gregg and the growing pains that come with finding a new member.”

Intro5pect completed their second UK tour in 2008, even fitting in a performance on BBC Radio One with Mike Davies, a feat certainly worthy of praise, especially for an independent punk band from California. Experiencing the British punk lifestyle in comparison to those in the United States proved to be a moving and eye-opening experience for the band.

“I think it’s fantastic seeing these old 50- and 60-year-old punk rockers around England,” states Zaidi. “I think it lends to some validity to their points of view and encourages kids to really research and pay attention to the world around them.”

As Dave also points out, the youth are also much more in-the-know when it comes to political and social issues in the UK than they are here in the United States.

“It does seem like most of the fans are more politically aware and active than they are in the States, but also because punk or alternative lifestyles are taken much more seriously over there. Whereas in the US, it seems like punk is viewed by most people as a teen phase that everyone is expected to grow out of. In Europe, it feels like it’s viewed as being a permanent lifestyle and is taken much more seriously.”

Considering Intro5pect’s home base is considered to be among the most conservative areas in all of California, it’s clear their environment has influenced their music lyrically. Nearly half of Orange County’s registered voters are Republicans — not necessarily a hot bed for socially conscious punk rockers who happen to sing songs like “Fuck Your Flag.”

“While it is heavily Republican, I also feel it is quite apathetic down here as well. I suppose that many of these people live in the Orange County ‘bubble’ and are somewhat insulated from the socio-economic turmoil that the rest of the country feels,” comments Zaidi.

As bright as the California sun, the future plans of Intro5pect are also blazing brightly. In addition to the release of Record Profits, they are looking to release a full-length album by this spring and hope to make a third trek out to see their fans in the UK in the coming winter. Don’t fret, all of you U.S. fans — they also will be touring nationwide at some point next summer.

VARIOUS ARTISTS - UNSOUND

Say goodbye to the PUNK-O-RAMA compilations and introduce yourself to its replacement, UNSOUND. In an attempt to give the Epitaph label a facelift, UNSOUND features the new breed of Epitaph bands that come with a screamo/emo sound. Hip-hop artists Sage Frances and Dangerdoom also contribute to this title. It's as though Epitaph is attempting to ride the ever-changing trend of bands having an MTV appeal (screaming 20-somethings who wear too much eye shadow). This album also includes a DVD filled with 10 music videos from bands like From First to Last and Bad Religion. Fans of the defunct PUNK-O-RAMA series should be hesitant in picking this up. Epitaph isn't the Southern California punk label it once was. Besides a few decent tracks, there isn't much worth getting excited about here.

(Review originally appeared in the July 2006 issue of Skratch Magazine)

THE ANTHEMS - S/T

Although they were conceived just two years ago, The Anthems have already toured in Germany and Amsterdam. On this self-released four-song EP, seconds into the first track you realize what the attraction is. One of the first things I am amazed by is the sound these kids (they look to be in their early 20s) produce. The songs are well played and rich in sound, and the vocals are quite impressive, bringing to mind a comparison with Joe Strummer. You can also sense a bit of 1960s surf influence (mainly in the percussion). Another impressive band out of Anaheim! www.theanthems.com.
  
(Review originally appeared in the July 2006 issue of Skratch Magazine)

SCOTCH GREENS - PROFESSIONAL

I was pleasantly surprised when I found out I was going to be reviewing this album. I caught these guys opening up for Flogging Molly in March and was quite impressed with their brand of blue-collar rock 'n' roll. PROFESSIONAL truly captures the working-class sound these boys have made their own. Banjos and mandolins accompany the foot-stomping, fast-paced first track, "Rumspringa". From there, there is no looking back, as they throw us on a roller-coaster ride of in-your-face rock that lasts for the entire album. Fans of Flogging Molly would highly enjoy this band and album. Whether you pick up this album or see them live, Scotch Greens are sure to please your musical taste buds.

(Review originally appeared in the June 2006 issue of Skratch Magazine)

NONE MORE BLACK - THIS IS SATIRE

It seems as though Fat Wreck has had more releases over the last three months than any label out there. With THIS IS SATIRE, the hits just keep on coming. This is the first full-length in over three years for None More Black, and they surely don't disappoint. There's something about the cigarette-smoker vocals of Jason Shevchuck that gives each song its own personality; and you couldn't ask for a better group of musicians to back it up. Perhaps the only downer to this album is "I See London", which totally drags down the momentum of the first six tracks-although it's a good track, highlighted by Shevchuk's emotionally-charged vocals. The good outweighs the bad on this solid disc.

(Review originally appeared in the May 2006 issue of Skratch Magazine)