RUDIMENTARY PENI - "ARCHAIC" ep (2003, Outer Himalayan)

Most people's perception of RP curtails when their brief yet fruitful affiliation with CRASS RECORDS and the associated anarcho scene petered out following the '87 release of "Cacophony". However, they've managed to sputter along under the radar, quietly releasing an EP every couple years. The second-most-recent of these, the "Archaic" 10", was my introduction to the fresher face of PENI. Drop the political affiliations and up the gloom.

The songs are short, simple blasts, often only utilizing one riff, with tortured vocals delivering plaintive laments of the pointlessness of everyday life. The words "the rain runs down their carved names" tear from Blinko like hopped-up hellhounds. They function more as nuggets of angst than polemic, many being just one sentence. Even though brevity is a trait fully exercised on this record (12 songs in 15 minutes, and nary a pause between any of them), since the songs are so repetitive and simple, it's easy to get the songs trapped in your head. Definitely one of the catchiest records fixated on mortality I've heard.

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STEEL POLE BATH TUB - Tulip LP (Boner, 1991)

Steel Pole Bath Tub's existence is mired with instances of infamy. First (and simplest) of all, they were a punk band from Montana. Second, their rather bizarre smattering of influences and chaotic songwriting never seemed to be the sort of material destined for major labels, and yet managed to be one of the umpteen bands to be caught up in the post-Nevermind signing spree. Blanketing all those who bothered to listen in an unyielding sticky film of fuzzed out bass, droning howls, chaotic noise and (of course) offbeat film samples, this rather eclectic mixture of styles left many scratching their head when it came time to try and categorize the band. This didn't stop Slash Records from eventually trying to make a buck, however. They were signed in 1995 and almost instantly became the bane of Slash's existence. After releasing 2 albums largely compromised by their label, Steel Pole Bath Tub decided they were going to do something unique with their next major label effort. This record-to-be would serve as a tribute to New Wave predecessors, The Cars. This would not be a mere nod in admiration, oh no. The band decided to recreate The Cars' first album in its entirety. Suffice to say, things didn't end so swimmingly.

Tulip, however, captures the band in their prime. Their second full length, Tulip encapsulates the various qualities of the band that fans adored and major label executives could never really comprehend. Slow, durgy and delightfully redundant, this album is yet another example of a vein of punk rock that was immensely under appreciated at the time of its release and, today, is 'admired' to the point of blatant copping.

The bizarre psychedelia turn driving rhythms of 'Quark', for example, show a band with a severe case of musical ADD. The beauty of it all, I suppose, is this seemingly unrelated string of influences works, and it works well.

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THE WAIFS demo cassette

Here's another band that I played alongside on tour, this one from Boston. It was their first show, but they were comprised of familiar faces - the singer from LIBYANS, the bassist from CONVERSIONS and the drummer from WITCHES WITH DICKS. That pedigree should let you know that you're in for a treat. A poppy, slightly grungy brand of punk, makes me think of the 90's and K Records and Kill Rock Stars. It's a short listen, much like their live set, but that means that you can listen to it a lot in a short amount of time.

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Deathchurch "Unsilent Hate Anthem" (Klaxon/Nuclear War Now, 2007)

As with much of the current wave of punkified raging black metal, this is little information to be scrounged about Deathchurch. Apparently they hailed from Japan and this sole EP was released posthumously. Specifics do not matter much; from the labels involved you know that you're probably getting your money's worth in evilness. If the first song doesn't convince you to listen to the next three, even if your aural background is (as mine) primarily punk rather than metal, I don't know what to say to you. Shit is fast, heavy, and GRIM, with a lot of unique bits going on.

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