Thursday, December 21, 2017

The Best Of 2017

Are you sitting down? Probably...right? I doubt you're one of them fitness nerds who stands at their computer. Although, maybe you're reading this on a phone, standing on a bus or something. So in that case, Rosa Parks, get your fanny in a chair and prepare yourself for the whiplash inducing rear-ending of a year-ending Best Of countdown extravaganza.
It's go time!

30. '68 - Two Parts Viper

I know you guys (and that one girl) worry about my mental health, so I want to come clean and alert you to the intense consternation this particular album has wrought me with over the past few months. 
You see, I’d never heard of the band ’68. Even though they are from the same city I am from…I had just never seen the name or nothing. Then Whores announce a string of dates opening for them, and I get all, “say who?”, and I do the appropriate thing, I do my due diligence and look into just who and what ’68 is.
First listen and I’m hooked. It’s a very well executed blend of blues damaged sludge, hardcore, and noise rock. Like if Dead Low Tide and Refused and Every Time I Die and Black Cobra all got together and went at it. 
But then I start to second guess it. Is this too well executed to be authentic? Are they a bit too sassy? Are they wearing suits? Is the two piece lineup a gimmick? The lead singer was in a Christian hardcore band, should that give me pause? I even sent the record to trusted musical peers with the question, “is this good, or am I being duped?”. My brain was saying one thing and my gut something else.
I kept listening though…I kept liking it. Then the Whores show rolls around, and I make the “hey, I’m not sure about the headliner, can we stay and give them one or two songs? If they suck we can head out to continue drinking beers elsewhere”. Forty five minutes later, myself, and my two friends were awestruck with ’68. They blew the roof off that place (in the unenviable position of playing after Whores even), and impressed me beyond expectation. Yes, they were still a bit too sassy, but whatever, They backed that shit up with one of the most powerful sets I’ve seen in a long time. So well played, so entertaining, so heavy, such interesting song development.
Am I wrong?


I should know by now to trust Josh Homme and the Queens Of The Stone Age. Cause with each successive album I listen to it the first time and get all, "I don't know man...seems a little soft". Which, for the record is not something I've ever heard in regards to my personal person...just, getting that out there. But just like each album before it, I'm drawn back into the songs, and before you can say "where's Nick Oliveri?" the record has it's teeth sunk into my lizard brain. Those crazed hooks and cycling riff patterns, just will not let you walk away. Maybe sashay away...but not walk. This album takes their desert robot rock and feeds it more of the glammy groove jet fuel that has been hinted at the last few releases, while still casting a long dark shadow of dread across the dance floor. Weird, but it works. By god, it works.
I'm not getting soft, I'm just going to let QOTSA do what they need to do, cause they doing it right.

28. USA NAILS -Shame Spiral

Tightly wound, taut, and quick to strike. English all the way. You can tell by the repetitive building of the song over a concise post punk rhythm section, and the vocal delivery that is as literate as it is smarmy. Abrasion all over the place, needling you, taunting you, goading you into confrontation.

27. HUNGRY MAN - Kind

Not the record I was expecting, and maybe not the record I deserved, but it transported me back to living in a college town in the early 1990s and seeing really talented local bands open for whoever was passing through and thinking, "damn, those guys are really fucking good". Hungry Man would have been one of those bands. They have all the hallmarks. They probably have record collections with Tar, and Portostatic, and Bitch Magnet, and Honor Role, and stuff. I mean, if my weird mental version of them is anywhere near true.

26. BUILDINGS - You Are Not One Of Us

A three piece from Minneapolis who can make a snarling, antagonistic, battering, not unlike an older three piece from Minneapolis (via Fargo). The ugly punch of hardcore, with the sharp bite of post punk, and the lumbering bear hug of noise rock. It's all there if you want it. Or think you can take it.
I have faith in you though..I think you can take it.

25. CELLOS - The Great Leap Backward

I'm going to try and not dwell on the fact that there is nary a cello anywhere in the vicinity of this album. Zero cellos. Not a a one. So, if truth in advertising is going to be a nonstarter for you as a listener, then you'll just have to skip ahead to the next entry, because these Canadians are obviously bald faced liars. 
If you can get past their deceitful nature (what happened to Canadians being so nice?), then you will be treated to an overdriven batch of noise rock that careens from fuzzed out sludge to (relatively) buoyant (also fuzzy) rock tunes. It's nice. It's not a monochromatic album in the least, it has an underlying (there they go lying again!) current that holds it all together, but from song to song plenty of variation (to your educated ears...not to your mother's ears) to keep it interesting.  I was really surprised by this one (and also furious about the cello thing).  

24. COUCH SLUT - Contempt

The grossest. Music for amateur criminals and professional dickheads. Music for the kind of guy who would wear a Couch Slut t-shirt to Christmas dinner with family. Dirty and completely devoid of anything remotely resembling “happiness” or “harmony”. Dedicated to the fine art of ostracizing oneself from society. 

23. WAILIN' STORMS - Sick City

Wailin’ Storms set up their blood red tent revival knee deep in the swamp to deliver their fire and brimstone paranoid chants in the dead of a pitch black night. Sinister shadows lurk at the edges of the assembly breathing a cold fog into the hot, humid sermon. Wailin’ Storms have not come to save your, but to take it in the name of evil. This congregation of the damned is only theater of pain. Black eyes, black hearts, black minds.

22. WEED - Born Wrong Love

I’ve really become a sucker in my old age for this style of music. A fuzzed out, blown out form of indie rock that takes a catchy song and drags it through a mud puddle of punk snarl, or smokes it out with a lethargic stoney shoegaze drawl. I love it. It means I can enjoy “fun” music that is loud and fucked up enough that my family stops calling me a pussy for once.
If you can get down with Solids, Ovlov, Happy Diving, and Wild Moth, then you should mos def be getting down with Weed. Not the jazz cigarettes drug. I mean the band. Stay off the drugs.

21. CLOAKROOM - Time Well

Shoegaze that shimmers, and swells, and brings the thunder when you’re ready. You know, all the things you want a shoegaze band to do. This one also adds the benefit of weaving in some mid-90’s style Midwest emo into the mix. The same way Hum did. Which means Cloakroom bear more than a passing resemblance to Hum. Which is not a “bad thing” for the record. They also weave in some early 90’s drone-y big guitars. The same way Bardo Pond did. Which means Cloackroom bear more than a passing resemblance to Bardo Pond. Which is also not a “bad thing” for the record. They manage to inject some modern noisy pop/post hardcore attitude into the mix. The same way Nothing did. Which means Cloakroom also bear more than a passing resemblance to Nothing. Which is still not a “bad thing” for the record.
Mood music for bum-outs.

20. DEAD HEAVENS - Whatever Witch You Are

This album soaks you in a warm blanket of hazy stoned psych boogie that recalls the chooglin’ foundations laid by Cream, Leaf Hound, and Groundhogs, and layers on the natural melody that Walter Schreifels specializes in. Flows so naturally from song to song and keeps a consistent groove that pulls a low end swing. Effortless bliss.


Yeah, so ok, this might seem like a lazy copout, but I thought a clearinghouse was needed for the sudden influx of bands that popped up this year made up of dudes (always) who have been responsible for a lot of really great music from our collective youths, who decided to get up off the couch and get back to doing what comes naturally. And yeah, sure, some of these guys never stopped, but even those folks managed to pull off some career highlight material in 2017.
BLOODCLOT were rebooted this year with an all new lineup (save JJ), and came roaring out of your speakers with a serious contender for best new Cro-Mags record. It's teeth gnashing and ripping throughout, all classic hardcore fist pumping and chock full of the John Joseph self-help beat downs you know and love (or hate...that's fair too). Features: John Joseph (Cro-Mags, Both Worlds), Joey Castillo (Danzig, Queens Of The Stone Age, Bl'ast!, Goatsnake, Wasted Youth, etc.), Nick Oliveri (Kyuss, Queens Of The Stone Age, Bl'ast!, Dwarves, etc.), and Todd Youth (Warzone, Agnostic Front, Murphys Law, D Generation, Danzig, etc.).
FIREBURN delivered the Bad Brains record you were hoping for after 'Quickness', but never got (including the hackneyed and ill fated reggae track). When they are going full throttle, there isn't much you can do but smile and enjoy it. It's a quick ride, only three songs (plus that goddanm reggae bullshit), but they pack a lot of punch. Features: Israel Joseph-I (Bad Brains), Nick Townsend (Knife Fight, Deadbeat, Catholic Spit, etc.), Todd Youth (as mentioned above), and Todd Jones (Nails, Terror, Betrayed, Knofe Fight, Carry On, etc)
LET RAGE let Timmy Chunks let loose in a Token Entry meets East Bay kinda way. There's some NYHC stomp, there's some gutter punk grit, and there's one pop punk misstep. But whatever, it's fun, and that's the point. Features: Timmy Chunks (Token Entry, SFA, Redemption 87, etc), Deana Montoya, Herman Ibarra (Los Creepers), and Byron Miller
HARLEY FLANAGAN has never stopped making music, but it's safe to say last year's 'Cro-Mag' album (subtle title) was a welcome return to form after a run of average-at-best (and sometimes worse) outings. 'Cro-Mag' was exactly as advertised, a brutal revisiting to the caustic NYHC of his origins. Take no prisoners, fuck it all. And it worked. This past year he toured constantly on that record and began assembling the next batch of bruisers for his forthcoming record. Now if only...
Features; Harley Flanagan (Cro-Mags, White Devil, Harley's War, The Stimulators), Gabby Abulrach (Voodoocult), Al B. Romano (McCoy, Sun Red Sun), Sean Kilkenny (Murphys Law, Dog Eat Dog, Harley's War, etc.), Pete Thompson, and Pablo Silva (Rata Negra, La Fe, etc.)
SHINERS CLUB might be the most exciting of all these dusty ole farts, because they've taken a tour of southern California hardcore (starting at Black Flag and moving forward from there) and amalgamated that collective experience into a chaotic, frayed version of classic OCHC. It's loud and burly, with no smooth edges. All fucked, which is all you want. Features: Dan O'Mahony (No For An Answer, Carry Nation, 411, God Forgot, Voicebox, Done Dying, etc), John Coyle (Outspoken, Yuckmouth, Kill The Messenger, etc), Colin Bius (Mean Season, Revolution Mother, The Twilight Transmission, etc.), and Doug Mackinnon (The Vandals, Ignite, etc.)
DEAR FURIOUS come out of the gate swinging the ugly stick. It's big, loud metallic hardcore that growls and menaces, and does not disappoint. Features: Issac Golub (A Chorus Of Disapproval, A18), Mike Hartsfield (Outspoken, Freewill, Against The Wall, Drift Again, Done Dying, etc.), Matt Horwitz (Adamantium, Mean Season, Dawn Of Ashes), and Marc Jackson (Throwdown, Wrench).
THE EULOGY take their cues from bands like Sick Of It All and Wrecking Crew, who could balance (of terror?) a bouncy mosh-heavy singalong hardcore with thrash-y metal. Just read their resume, I think you'll understand. Features: Kevin Norton (Eye For An Eye, Straight Faced, Big Block 454), Sergio Chavez, Matt Henderson (Madball, Agnostic Front, etc.), Marc Jackson (also in Dear Furious above), and Pete Reilly (Mouthpiece)
DISTANT BEDS resurrected Swiz and toke them to Pokez for a burrito. They play a fairly convincing harDCore style that only hints at their San Diego roots, but however you slice it, shit is fucking rad. Very excited for this band to release something official...hopefully soon? Features: Steven Andrew Miller (Unbroken, Julia, Kill Holiday, Gehenna, etc.), Matt Anderson (Heroin, End Of The Line, Crossed Out, Rice, Spacehorse, etc.), Sam Stothers (Narrows), and Oscar Paz (Impel, Kill Holiday, Adult Crash).

18. METZ - Strange Peace

This record breaks down the front door, with a Wipers-meets-Nirvana-meets trucker speed attacking posture. Careening across the house, scuffing walls, breaking windows, and knocking your bric-a-brac all cattywampus. Eventually they do settle into a more methodical rummaging through your drawers, but they're always twitchy...unsettled, and you know that at the drop of a hat, they will snap again. And they do. And your home owners policy won't cover the damage.

17. PISSED JEANS -Why Love Now

"I used to play punk, now I'm just singing the blues". Precisely. Some fucked up, damaged blues. Bulldozing negativity that stops for no man, and clears a path of all life. Super gnarly, full throated pig fucking. Gross, but...true.

16. WAR BRIDES -Regrets

The best Coextinction Records release not actually released by Coextinction. If that makes any sense. It's got that big city blackened grit, like Pigs, and that fucked up relentless bug-eyed drive, like KEN Mode. It's basically everything you want to hear in a noise rock band, but were afraid to ask for. Knotted rhythms with slicing guitar, and bellowing vocals that all combine for a sand storm of biting discord.

15. UNIFORM - Wake In Fright

Killing Joke, Godflesh, and Ministry walk into a bar...brandishing knives...and proceed to open the throats of every patron there before emptying the tills, stripping the back bar, and setting fire to the owner's sports memorabilia. Total grinding industrial strength hardcore noise pummel. So good.

14. WU TANG CLAN - The Saga Continues

This album has no right to be as good as it is. Wu-Tang has been either too scattered, too boring, or simply too diluted for a long time now. Long enough that they were off my (admittedly not the most finely tuned) radar awhile back. But The Saga Continues is a testament to back to basics grimy big beat production by Mathematics. And if while this isn’t as good as the first couple albums (like, jettison the corny R&B hooks next time, and maybe get the whole [surviving] Clan on a couple tracks as opposed to one or two members), but it satisfies a certain itch in a world of monotone mumble rap. 

13. BURN - Do Or Die

As long as Gavin Van Vlack wants to write his weird version of deformed noisy hardcore, I will listen. And as long as Chaka Malik feels like he's got something to say, I will listen. It's worth listening to. Of the bands that took NYHC off the rails and into expanded directions, Burn was the most urgent and exciting. Still feels like they want to pay homage to what makes hardcore so enduring, while still pulling the edges a little further from the middle. That balance is perfect in hands this capable. 
Now if we can just get a Die 116 reunion...

12. BLACK ANGELS - Death Song

Hands up if for the first couple albums you thought Black Angels were fronted by a lady. How Alex Maas channels Grace Slick the way he does is wild. I love it. And I love this band super hard. Every record has been perfectly formed psychedelic rock that straddles the line between historic homage (they are named after a Velvet Underground song after all) and contemporary powerhouse who have synthesized years of trolling record stores for the most out-there droning masterworks. It all comes together and pulls you unwittingly along for the entirety of the album, and I'm telling you, there is no place you would rather be than in front of the speakers (at high volume) going on that trip. Fuzz beyond driven.


Another glorious return to form from another band that breaks from their amber cast and strides the earth once again. Part Chimp bring to bear some of the biggest, thickest, meatiest riffs, and then casually stomp across your face with them. They give stoner rock the much needed kick in the pants that genre has been begging for by taking the formula running it through Melvins discography for a bit of off-kilter fuckery. 
Beyond thrilled to know these gentlemen are back among the living and making the sweet sweet sounds of a half speed volcanic eruption again.

10. THE KNEADS -When Nothing's Going Right, Go Left

I was pretty clear the last time we talked about The Kneads, that they are the North Carolina indie rock glory days incarnate, and that couldn't be more satisfying to me. Personally. 
This new record continues on the same trajectory as the previous one, wrestling new gratifications out of the old girl. Not just any group of Superchunk fans can pound out this kind of material. You really "had to be there" to channel the DNA that made the first wave of NC indie rock bands so special. And The Kneads were. They were making music back then, and it shines through in the music they are making now. It's unmistakable. Perfect.

9. PILE - A Hairshirt Of Purpose

I didn’t expect this record to bowl me over the way it has, or have as lasting an effect on my ears. The previous records they released were all really really good, but this one has such a cohesive narrative that you can’t stop listening until the final track comes to a close. Here they have taken some of the smoldering dread of Black Heart Procession, and animate it with deftly paced post punk indie rock (think The Fall meets Pavement) that occasionally steps on the gas, but mostly lays back and lets the song unravel at its own pace. 
The elegance with which Pile deliver this album is impressive. The maturity, and restraint, and songwriting acumen this band are employing are at such a high level, it really is a joy to experience. Not everything has to be fart jokes and kicks-in-the-balls, right? Sometimes you get dressed up and you lavish in the finer things. That’s growing up.

8. PLAQUE MARKS - Anxiety Driven Nervous Worship

In case you needed a new favorite band in the category of “Abrasive Punk Noise Rock”, I think we might have found it. This Philadelphia kill squad has amassed a convincingly ugly album, full to the brim with all the things your girlfriend hates about the music you choose to listen to when she’s in the car. Membership culled from A Life Once Lost, Ecstatic Vision, Creepoid, Fight Amp, Gunna Vahm, Pale Shelter, and The Powder Room (fuck yeah!), so you can rest assured you are in good hands. Calloused, weathered hands with grease under their fingernails…but good hands. This band is not going to half-ass anything. It’s all going to be in-the-red loud, full tilt, get fucked or get out of the way, kinda shit. The good shit.

7. UNSANE -Sterilize

There is no band ever that is more befitting of the phrase, “if it ain’t broke, don’t fix it”. Unsane have been drilling the same basic song into our hearts and minds for over 28 years, and oddly, nobody has gotten sick of it yet. The song is THAT fucking good, that if they want to continue finessing that thing for another couple of decades, that’d be just great. Their pure distillation of “noise rock” has been the bedrock for countless bands to try and build upon. Some have taken the Unsane formula had run with it. Those are the more successful bands. There are others who feel they can merely attempt to ape the formula. They think, “how hard can it be?”. Turns out…real hard. It ain’t easy being as lean and mean as Unsane. 

6. QUICKSAND -Interiors

As a distinguished man of a certain vintage, you had better believe the prospect of a new Quicksand album had my vintage parts all a twitter (in a distinguished manner) in anticipation. Walter Schreifels has been rightfully lauded in this space for as long as anyone will listen to me ramble on his contributions to the American Underground Songbook, but it is of course Quicksand that stands as the shining star in the Wally Biscuits universe (Uranus joke pending). So, when they took their victory lap reunion tour, everyone was (not so) secretly whispering into their dream catchers for the band to dust off the chugging groove machine and get down to getting down. And praise be, they did!
Also as a distinguished man of a certain vintage, you had better believe that upon first listen to the new material I was...confused. Wondering when Fazer II was going to come on. And it took me awhile to come to grips that this record is a much a "Walter" record as it is a "Quicksand" record. There are moments of the vintage Quicksand, but just as many moments of Rival Schools, and some Vanishing Life, and a little Dead Heavens, and even some of the solo Walter feel. It took a minute to come realize that all of those elements are fucking great...I love all those other bands, and fuck it. If that's what is powering Quicksand in 2017...I'm down. I'm fucking stoked! It's not as immediately gratifying as 'Slip', but damn if it isn't as ultimately gratifying as anything these guys have done. 
Then I saw the three piece version run through a handful of these songs within the context of a career-spanning set, and it all fell perfectly into place (although I will say that I felt the three piece band brought an unexpected shoegaze-y vibe to the show...which isn't a complaint...just not what I was anticipating). In long run that's way more interesting to a fan of Quicksand, and that gives the band the ability to twist and turn however they are inspired, which is super exciting, because it means we might not have to wait another 20 years between albums.
Also...get well soon TC3.

5. JEREMY ENIGK - Ghosts

Shiny Grey Monotone superfans (I see you Mom!) will no doubt recall that on last year's Best Of list, we praised the continuing benefaction afforded to us by the lustrous catalog of Eric Bachmann. You remember that, right? Well, right next to Eric Bachmann on my Monument To The Greatest Songwriters Of My Generation is this man, Jeremy Enigk. His mercurial spirit has been a consistently beguiling voice since he appeared on the second Sunny Day Real Estate 7" in 1994, and ever since he has doggedly chased an beautifully earnest expression of his life and loves. Vunerable, unique, powerful and instantly recognizable, there is no one else that sounds like Jeremy Enigk (no matter how many times my wife will compare him to Robyn Hitchcock), and to me at least, it cuts straight to the core of me.
The accompanying video is a gut wrenching live version of album highlight 'Ancient Roads' and I take particular pride in sandwiching it here, among Iron Monkey and Godflesh and Unsane. Please enjoy.

4. GODFLESH - Post Self

Am I a dummy, cause I had zero warning that there was going to be a new Godflesh record this year, and then all of sudden, whammy, this monolith of grinding pummel appears fully formed and ready to put a hole in my skull from the opening warped note. I was thinking the reunion album from 2014 was a one-off gift, and Justin Broadrick would go back to his 25 other projects, having played Godflesh a well 'Reveille'. At no time did I expect to be celebrating more crushing bombast from these two guys (much to my daughter's chagrin...she seemed to bear the brunt of the Godflesh listening parties as I ferried her to and from ballet five days a wasn't nice of me, but that's one of the perks of parenthood, forcibly imparting your good taste onto your unsuspecting offspring when all they want to do is hear Sean Mendes and Migos [they will come day]), but celebrate I did. We should ALL be dancing in the streets(weeper) to the dystopian soundtrack of our world's implosion that Godflesh have thankfully provided us.

3. IRON MONKEY - 9-13

The Nottingham Eyehategod come roaring back to life after an 18 year blackout, and they got out swinging wildly and anything and anybody unlucky enough to get between them and their next drink. Who would have ever thought that a slimmed down, older version of Iron Monkey would deliver not only the best record of their tenure, but arguably the heaviest? Ever single song on '9-13' is a grotesque stomach churning head banger of the highest order (but lowest culture). Much like the aforementioned Eyehategod's return last(?) year was far more caustic than it had any right to be, so is Iron Monkey. They channel Buzzov*en, Capricorns, 16, Grief, Cavity, and a lifetime of disappointments into about 50 minutes worth brutal bludgeoning. 

2. MEAT WAVE - The Incessant

Hard pressed to find any band that can play as satisfying an indie rock melody buried under some post punk/post hardcore grit like Meat Wave. PLUS they name a song in homage to Kenny Powers?! I mean, shit, save some for the rest of us. 
Or maybe don't. Maybe the rest of us can't be trusted with the responsibility of entertaining my ears, and maybe Meat Wave should just be doing that full time. I'd listen. I have been listening for a few years, and they don't seem to be losing a step at all (not my ears are starting to sport a wizard-ish sprig of course hair around the ears are totally losing a step...they're letting me down with each passing day), I'd be happy listening to them each and every day into the foreseeable future. Regardless of how unattractive my ears are.

1. HAWKS - No Cash Value

Rest in power to one of the greatest to ever do it. Hawks call it after this album was released, and the world is an ever darker, more decrepit place for it.
Atlanta (and surrounding environs) has been spoiled with a long lineage of bands that mine the underbelly of loud, caustic, distorted music. There have been myriad groups trolling the dark club stages and basements of this town for years, deafening, thrilling, and genuinely upsetting any and all who knew where to look. But among that cadre of musicians Hawks stood out from the crowd. Their version of noise rock was truly something special to behold.
At once dense, prickly, heavy, combative, and detailed, the band managed to anchor it all together with a mean swing. Songs that in a lesser band’s hands would have been a wall of impenetrable scree, were delivered by Hawks so expertly that no matter how brutal, they maintained a memorable undercurrent or hook. They knew that by subverting the caterwaul with a well-crafted “song”, they could pull you in closer. For the kill, no doubt.
‘No Cash Value’ ends their reign of terror in a manner befitting their talents and secures their legacy as an indispensable resource for getting truly fucked up. The musicianship is a study in balance, the songs swell and crest naturally, shards cut through the din that jolt you back to attention, and when they decide to drop the hammer, it’s truly a thing of glory. Lyrically this record builds off previous Hawks’ releases, a tent revival preacher three days deep on mescaline, weaving end time predictions into cautionary tales of woe. And the whole thing is recorded and produced with a bright clarity that allows the punches to land exactly as intended, nothing muddy, no need to compensate poor performance with high volume distortion…this record jumps out square into your face.
Sad to wave goodbye to Hawks, but so thankful that they left us with one more volume of their perfectly executed assault. See you on the other side…or under side?

Monday, December 18, 2017

The (Almost) Best Of 2017

I'm not even sure why I try to pull together these year end lists because, for one, I'm generally listening to Rod Stewart over anything else (that is not a lie), and secondly, it's a lot of dang work for someone who has the memory of a Tsetse Fly. I honestly couldn't tell you either of my parent's birthdays, and yet here I am trying to recall that split 7" I really liked for a week or so back in February (actually, my mom's birthday is in February...something).
But I do it. For you. For me. For us.
If nothing else, it's an excuse to go back and dig into bands that made an impact this year, and best case scenario, maybe you check out one of these records and end up buying it. Or catching them next time they are opening a five band bill near you. Or, it will help to remind me in some way what day to call my dad and wish him happy birthday.

So, without further ado (doo), here are 30 records that I really liked this year, but due to the intricacies of my very accurate and sophisticated mathematical judging format, I guess I didn't quite like them as much as the actual top 30 records of 2017. Although, I'm sure that if you asked me tomorrow, I could swap them all around.

These are in particular order. And for no particular reason, they are haikus.

1. BUMMER / PINKO - Split 12"

Good heavens this rips!
Total annihilation
Rarely feels this good


2. GRIZZLOR - Destructoid

Well, there goes your job
Physique has devolved to shit
Life gave you lemons


3. DRUNK DAD - Feelings Party

I think he wants in
He's been pounding at the door
Something isn't right


4. SUPER THIEF - Stuck

Austin lineage
Deep in the heart of my ass
Push and pull and pound



Wall of animus
Full bore maxed out everything
Humid hammering


6. OUT - Swim Buddies

NC style indie
Ramshackle amped up pop songs
Just works and feels right



Da fuq a Baxter?
Not what the name would suggest
Noise rock Finnish style?


8. OXBOW - Thin Black Duke

The grown up Oxbow?
Less abrasive it would seem
Until you dig in


9. BUZZ RODEO - Combine

Could be Chicago
But Germany is their home
Studied the classics


10. THEE OH SEAS - Orc

When they on, I'm good
When they damage the boogie
When it's garage sludge


11. LOWER SLAUGHTER - What Big Eyes

Big riff bulldozer
Grungy noise comes out roaring
Cherish the release



Two bands means we get
Twice the pummeling power
And I support that.


13. CHRISTIAN FITNESS - Slap Bass Hunks

Hyper literate
Tongue in cheek fuck you's and them
Rumbling lurch and punch


14. BATPISS - Rest In Piss

I mean, come on dude
They are CLEARLY called Batpiss
What do you expect?!


15. YARDS - Excitation Thresholds

This will leave a mark
You will lose your deposit
Friends will stop calling


16. STNNNG - Veterans Of Pleasure

You got Hammerhead
In my The Jesus Lizard
Not complaining tho


17. LARDO - Sinking

Tightly coiled, dark, tense
Smells of Chicago days past
Fucking you smartly.


18. DAVID BARBE - 10th Of Seas

A master craftsman
Songs that are timeless and true
Weird enough to care


19. HYENA - Demo

Old punks never die
They get gnarlier and crazed


20. WITH THE DEAD - Love From With The Dead

Electric Wizard
Not bringing the heat this year?
With The Dead got you


21. ABUSE OF POWER - When Then Becomes Now

Never thought I'd see
An Outspoken tribute band
and Act Of Faith font!


22. LESS ART - Strangled Light

Dudes from bands you like
Maybe not what you expect
Bleak but somehow warm


23. THE DUKE SPIRIT - Sky Is Mine

Hazy Sunday morn
Warm embrace in lover's arms
English to the bone


24. BATAILLE - Bataille

Slash and burn attack
Density as a weapon
Blackened filth fury


25. DEATH STUFF - Death Stuff

Post punk art damage
Doesn't hold back on the bile
You should punch your dad



They just need three songs
All power, nothing wasted
Max volume, go deaf


27. DRUNK IN HELL - Drunk In Hell

Do you like your ears?
This band thinks your ears are dumb
They want to hurt them


28. NORSKA - Too Many Winters

Fuck you, and fuck you
And fuck you, and fuck you too
You are an asshole


29. HEAVY HAND - Prerapture Era

Punchy, fun even?
Who revved up Les Savy Fav?
Why you no smile more?


30. IDYLLS - The Barn

What if I cut you
Straight down the very middle
Of your sagging gut?


Monday, December 11, 2017

Life Is Hard, But 2017 Was Harder: Best Of 2017 Intro

As the days have grown short, the nights crisp with winter moon's glow, and the snow blankets our idyllic hamlet in a quiet calm, we take this time to cozy up by the fire, sip on a mug of mulled cider, and contemplate the year that was.

The annual parade of judgement we dub "Best Of"!

But...what if upon reflection you determine that many of your "best of's" are actually "best was'"? You read the fine print to discover that your favorite record of 2017 should of been your favorite record of 2016, but you were just too slow to hear it in time? Well, in that case, you would be me, for I am that person. As I culled my list of favorites for this past year, I came to the shocking conclusion that a handful of them were past their due date, and while I have in the past, I could not in good conscience include them in the forthcoming, fabled and highly respected Best Of 2017.

So here are a handful of those records that I slept on last year, that I shouldn't have:

Autolux - Pussy's Dead

This band is a real mystery to me, not in any spooky way, or like, they are trying to cover up a murder, but more in a "how the fuck did I never hear of them before?". Perfectly executed warm and fuzzy, shoegaze-y psych-pop songs that hold a sinister undercurrent...the way I like. Everything should be sinister.
If you like Slowdive, Swervedriver, My Bloody Valentine, mixed with The Warlocks, with maybe Tame Impala, Radiohead and True Widow in the mix...this one is essential. All their records are really essential, actually. Get them!


Beat Drun Juel - Suppressor

From the finest forges in Chicago (although I hear a little Louisville in there), this band truly are power where you need. They swing hard with attacking, super tight instrumentation, leaving space on top for Donna Polydoros' vocals to soar/screech/roar. The distinctive voice is one thing, but the songs themselves are a propulsive lurch, and when those elements come together it creates a damaged cabaret of darkness and revenge.


Bodyfather - Heavy Rest

Atlanta underdogs, who fly perpetually under the radar, but continue to churn out wiry noise rock (sort of adjacent a to a smarter version of hardcore), that pushes and pulls like Drive Like Jehu (or, if you're an Freemasonry). Hoping this band pulls together something new in 2018...and that it gets heard outside of East Atlanta.


Cherubs - Fist In The Air

Straight up, I must be losing my step, cause I had zero idea this record came out until it popped up as a "recommendation" on Spotify. Spotify. That's how I'm getting my hot tips these fucking algorithms. Blade Runner shit.
So, this is only three songs, then two remixes (sadly no Dusseldorf House Mix), one by Shit And Shine, and one by Tim Harrington (Les Savy Fav), spread out over two 7"s. And the title track (also the subject of the remixes) picks up where '2 Ynfynyty' left off the year before, which is good and all, but when the first five seconds of "Donkey Suite" clock you across the back of your's just about fucking perfect.  Seriously perfect.


Easy Prey - Easy Prey

Only two songs, but good heavens, they get the point across. This band are positioning themselves into a long and distinguished (like my johnson) lineage of Austin, Texas noise rock that takes leans heavily on the "make the bass sound like a subterranean explosion, then turn everything up real loud and get fucked". It works. Tried and true formula that works. I'm certain their forefathers in Ed Hall and Johnboy and Cherubs are proud.


Fake Limbs - Matronly

Yeah man, you wanna take the Jesus Lizard template and pile on some nastiness? Cool. You should do that. Drive your coiling riffs straight through the back wall with a hefty gut punch...all day. It's your God given right to batter everyone within earshot into a grease stain with your dense wallop. I support it!
If you get weird with Hawks (rip), then Fake Limbs will do you right. Plus, bonus points for best song title I've heard in a good minute, "Grudge Wapner".


So Pitted - neo

When a band can come across this big, ugly, and mean, I'm in. I'll always love a good tangled squall of distorto-thud. It's as if you could play your old Nirvana record and old Distorted Pony record at the same time, but with a silver dollar laid atop the stylus to juuuuuust slow it down a hair and give it that fucked up touch.


Wrong -Wrong

Yeah, so it's Helmet's drunk there anything wrong with that (pun not intended)?! Can you think of anything negative to say about the band 16 performing the unreleased album Helmet wrote between Strap It On and Meantime? Cause I can't.


Tuesday, December 5, 2017

Superchunk - Tossing Seeds (Singles 89-91)

Label: Merge
Year: 1992

For those that keep up with this blog (hi Mom!), you may have previously been aware that I take things of North Carolinian origin quite seriously. Bordering on unnecessarily serious. Reckless even.
You may have also been previously aware that in my frequent (also unnecessary, and reckless) compulsion to rank the musical output of the Tarheel State, Superchunk gets left out of the top echelon of bands, the rarefied air I keep reserved for many of their contemporaries (hearts to you, Archers of Loaf, Raymond Brake, Polvo, Small, Pipe, Erectus Monotone, and on and on).
You are paying attention? Right? Mom?
So, what is it about Superchunk that they are can't quite crack the illustrious bowels of my personal favorites? Are they bad?
No. Of course not (and my bowels are pretty great too..if you're curious). Superchunk, had they lived in some other college town, anywhere else, would have been "the best band in town" (except maybe in Madison, WI, or Athens, GA, or Austin, TX, or...), and they would find themselves rubbing elbows with the Top Ten bands of that particular town's nerdy-ass bloggers list. They were a good band. They played fun, amped up, punky pop songs (please note: not pop-punk, but punky pop...there is a real distinction with actual consequences). Their shows were fun, and loud, and energetic.They were a good band.
And I want to give them their due, here. Which is why I offer up an anthology of some of their first records, conveniently collected for easier consumption, including the "hit", 'Slack Motherfucker'. Which incidentally, is a legit "hit".

Hail NC indie rock.


Sunday, December 3, 2017

cathedral - cosmic requiem

label: earache
released: 1994

as a matter of fact you do have room in your life for a 23 minute psychedelic doom song.
don't argue.


black sabbath - 8.5.75 - convention hall - asbury park,nj

it's black sabbath being black sabbath in front of a crowd of people that paid to see black sabbath be black sabbath in front of them.

1 - supertzar/killing yourself to live
2 - hole in the sky
3 - snowblind
4 - symptom of the universe
5 - war pigs
6 - megalomania
7 - sabbra cadabra/sometimes i'm happy
8 - supernaut
9 - iron man
10 - orchid/rock & roll doctor/don't start (too late)
11 - black sabbath
12 - spiral architect
13 - embryo/children of the grave
14 - paranoid


Saturday, December 2, 2017

v/a - our band could be your life: a tribute to d boon and the minutemen

label: little brother records
released: 1996

it's some bands that you like covering a band that you like.

this was posted by the guy that isn't me a few years back.
and this is what he said:

"Let's start by me telling you this, and it might rub you the wrong way...but..."I don't think the Minutemen were all that great". They were "fine" I guess. And maybe I was too stupid to "get it", or whatever, but ultimately they did and/or do, very little for me. They have a handful of really good songs, and a bunch of alright songs, and fair amount of shitty songs. Not a bad record per se, just not essential to these ears.
A lot of people are way into the Minutemen, and think they were very "important" or something to that extent, and that's fine, I'm sure they are very important to some folks. No one here is saying they're no good, or that they didn't contribute to this or that, or that we can't collectively respect what they accomplished in their time on earth.
I just like fIREHOSE better, that's all."

and you probably remember seeing the aftermath of all that on the news.
it was like that one scene in APOCALYPSE NOW where everything is all quiet and they're just on the boat sailin' along and reading the letters and whatnot from home....

we still can't seem to get the stink out of the office.

when it comes down to it: i prefer the minutemen.
that's right.
i said it.
did fIREHOSE write "little man with a gun in his hand"?
did fIREHOSE write "the anchor"?
did fIREHOSE get chosen to provide the theme song to JACKASS?
does fIREHOSE have a tribute album?
no and no and no and no.
you want to fight about it?
you'll just have to track me down.
and in order for that to happen you're going to have to pay the $5 for the map of bushes in your town.
or maybe you could just wait in the bushes outside your house.
i might show up.
i might not show up.
i could be in the bush that you're standing in right now.

the listing of the tracks


god lives underwater - self-titled

label: american
released: 1995

blah blah blah.
blah blah blah blah?
blah blah blah blah!
blah blah blah.
blah blah blah blah blaaaaaaaah,blah?
nine inch blahs.
alice in blahs.

Designed by mln3 designs & etc.