BARSTOW - DISCOGRAPHY [sorta] (self-released, 2001-2005)

Barstow were an indie rock/post-hardcore band from Waterbury Connecticut. During their 5+ year existence at the beginning of the decade that is about to come to a close, Barstow's importance on the local DIY culture of Connecticut was, at best, overlooked. Even more unfortunate, their collected recordings have gone largely forgotten in the brief number of years following their break-up for a variety of reasons, an all-too often consequence of Connecticut's small, intimate, but all too forgetful local punk rock culture.

Barstow consisted of Ryan (guitar), Matt (guitar), Mike (bass) and Dan (drums). While all four members shared vocal duties, Ryan and Matt were the primary vocalists. Their songwriting, in part, showcased the loud-quiet-loud indie sound, with a great deal of dynamism and variety, thanks in part to the collective interests and ability the group overall. Their discography also showcased a great deal of creative growth over the course of a very short period of time. From the more straightforward indie-pop approach of their demo EP, to the 3+minute crescendo that is 'Valley Walls' on their split 7" with A Day's Refrain (Redscroll Records), to the fluidity and intricacy of their final 3-song EP, such development should not go unnoticed or unappreciated. If anything, it only makes one wonder what the group might have issued had they continued on.

Beyond music, Barstow was immensely vital to the continuation of the DIY punk rock scene in central Connecticut during the course of their existence. They helped book dozens of shows at Brass City Records and the nearby Waterbury VFW. Beyond the actual setting up of shows, they lent out their PA on a moment's notice and were simply friendly enough to help bridge the stylistic gaps that are often seen within a young, developing scene. These gaps can keep various parties from ever interacting, and it takes something special, although rarely ever intended, to create that bridge. Barstow provided it, although might never have known it.

As this entry would suggest, my opinion of this band is far from objective. Admitting that, I feel that far too often we are only able to understand and appreciate the actions of others retrospectively. And while many have recently looked at punk rock in a historical sense as something of great significance, I contend that such historical perspective and respect, especially at the local level, is a bit harder to come by (especially recent history). With that in mind, I wanted to make sure this entry was made, if only so people who weren't there can appreciate the contributions of those who were.

The file below includes their aforementioned pair of EPs and the track from their split 7". It also includes 2 unreleased tracks ('Milhouse' and 'How To Be Good At Nothing') as well as a live version of 'I Blame Myself...So Do I' from their final show, which took place at Brass City Records in Waterbury CT. My apologies if anything is missing. If you have recordings of the band not included in this file, please feel free to post them or get in touch. Enjoy.

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DOW JONES & THE INDUSTRIALS / GIZMOS - HOOSIER HYSTSERIA split LP (Gulcher, 1980)

In response to Brian's most recent post on self-awareness and cynicism in punk, I thought it would be best to revisit a tasty little gem of a record from a simpler time long-past. As punk, both in its current-day configuration and in a historical sense, seeps deep into the blogosphere, the "gotta listen to 'em all" approach creates a need to continue posting rare and obscure material, often times with the quality of said material waning and waning until the fun and enjoyment is all but gone. While this installment of the Stain is not necessarily the most obscure thing out there, it will hopefully also not contribute to the further dilution of your search for punk that was.

"Hoosier Hysteria" was the end result of a joint effort by Dow Jones & The Industrials and the Gizmos, two bands from Indiana that came to local prominence by the late 1970's. Many have gone on to brand each band with a bevy of various micro-genres. This is not without reason. Post-punk, new wave, power pop, synth pop, even the simple acronym "KBD" all quickly come to mind and are not outlandish in their relevance to either band.

This record would represent the near-end for these bands, as both would soon part ways and leave their discographies for various collector circles and conversations regarding obscure punk gems of the late 70's/early 80's. Now its yours to enjoy!

(For those of you with exceptionally short attention spans, might I recommend the tracks 'Pay' and 'Bible Belt Baby' by the Gizmos and 'Set Yourself On Fire' and 'Hold That Coed' by Dow Jones & The Industrials.)

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PANZRAM - DEMO (Human Crush, 2009)

It can get frustrating living in the decade of hardcore's extreme self-awareness. The canon is so thoroughly-established that any band can plant its roots in its chosen barren land and, with a slight bit of competence and the right friends, yield the fruits of subgenre notoriety and eBaiting. Many of the newest bands take a cynical, even ironic approach to the medium. That's what makes this demo such a breath of fresh air.

Quietly self-released by the band (comprised of two MERKIT members), the thing reeks of earnestness and an emphasis on communication. It's a pleasant refreshment to see a band that draws from the wells of BORN AGAINST and LEFT FOR DEAD but puts their own spin on it. Most of the songs include explanations, but the dirgey, untitled track ferreted away on the b-side speaks for itself - I couldn't have been six years old/The first time the cops were called/Shouldn't have had to lie to them/But I did it anyway, the distorted yowls cascade over the unique drumbeat before the tune culminates into noisy catharsis.

This exciting demo sets the stage for a 10" on IFB next year. As with everything John and Joe do, the packaging is exemplary, so I'd recommend tracking down a copy while they last (the HUMAN CRUSH blog purports that a scant 25 copies remain). Easily my favorite band named after a serial killer. Listen to it!

MEN'S RECOVERY PROJECT "BOLIDES OVER BASRA" LP (Load Records, 2000)

You people seem to keep subscribing to and downloading music from this blog, in spite of my efforts to thwart our status as musical taste-makers. I can only muster excitement over something so often, but you keep demanding that I not only enjoy more things but tell you why you should enjoy them. Or, if you're the drummer from Bent Outta Shape, you tell me to take your band's stuff down. Hopefully this post will be the nail in the coffin. Or else get me an e-mail from Sam McPheeters.

This is the second full length from quintessential post-punk weirdos Men's Recovery Project, and their last if you don't count the aborted (or maybe just unreleased) "Night Pirate". Here is a link.

SWANS - BODY TO BODY, JOB TO JOB (YOUNG GOD, 1991)

It's no secret that updates have slowed dramatically since school began, myself and Mr. Daltrey finding ourselves re-inundated with assorted obligations. More and more of you have not refrained from downloading the past posts in spite of a lack of updates. I will do my damndest to rectify this situation in the future, and by way of an apology offer you this extremely high-quality rip of the seminal SWANS' definitive early minor work, "BODY TO BODY, JOB TO JOB." Recorded between 82 and 85, I think this is a good entry point to early SWANS precisely because it eliminates much of the driving, crushing sameness exhibited on "FILTH" or "COP". Their brutalitarian sonic nihilism is expanded ever so slightly by the fact that this LP was culled from studio recordings, tape loops, and multiple live sets. Heedlessly unsettling, philosophical without pretention, completely necessary.
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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.

Listen.

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.

LISTEN.

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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TREVOR & DANIEL - s/t 7" EP (Speculation, 1998)

Simply put, TREVOR & DANIEL's one and only EP is my personal apex of what we could so sweepingly describe as "indie rock". This duo, comprised of former Connecticut residents Trevor Healy (guitar; later of Weigh Down) and Daniel Pastrana (drums; later of Anton Bordman) recorded this one, relatively obscure 7" in 1998 before moving on to other musical ventures as well as other geographic locations. We are left with a telling document of two friends that appear so musically in synch with one another, a near-flawless, emotive burst of energy captured in time.

The three tracks themselves generously reflect the time in which they were written. Equal parts San Diego (Gravity Records) and Chicago (Kinsella clan) are very apparent (and also telling, as Anton Bordman would continue such Gravity influence and the Weigh Down would notably reflect aspects of various Kinsella projects in years to come) and tastefully executed. Truth be told, the dominating nature of these influences give the tracks a bit of a dated feel, but that does not mean they don't age well. In fact, the opening track's delicate and refreshing sound intrigues as much as it entertains, taking the listener along on an angular rollercoaster ride before its sudden finish. The delightful voyage through these aural peaks and valleys continue throughout the remaining two songs while never feeling formulaic nor redundant.

While acknowledging my soft spot for fellow Connecticut bands, particularly in a historical context, I must say that this record is simply stunning at face value. Bands that make any present attempt at writing such material seem hackneyed, trying again and again to implement that aforemention formula, but continuously falling short. Sometimes it's immensely rewarding to simply reflect on what was and be satisfied that it ever came to be in the first place.

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NUDE BEACH demo cassette (2008)

My band went on tour a few weeks ago, and out of all the great bands with played with, Brooklyn's NUDE BEACH was my favorite new discovery. They had been described to me as "sped up Clash riffs meets Beach Boys through fuzzy amps," and after seeing them I'd augment that description with "The Clash by way of BENT OUTTA SHAPE and Beach Boys by way of EXPLODING HEARTS." Unfortunately, NUDE BEACH had apparently been long sold out of their demo tape.

Thankfully, we got these music piracy boxes. This 7-song, reverby demo is now in constant electronic rotation for me. Maybe it will be for you too? I know your next question was gonna be "do they have cred?" Never fear, they do! The drummer was in DUSTHEADS and BOTTLE ROCKET, and they seem to be in with the ifyoumakeit.com dude, which is where I found this download. A guy who was in GET BENT is putting out their forthcoming LP. Just fucking download it, before summer is over and bouncy punk of this caliber will only serve to depress you!

KILL THE MAN WHO QUESTIONS "SUGAR INDUSTRY" LP (2001, Coalition)

A friend recently expressed to me, prompted by my FAILURE FACE post, a lack of knowledge regarding worthwhile 90's hardcore. While this LP may not technically pass specifications, the majority of KTMW?'s time as a band was logged in that erstwhile decade.

Uncompromising fucking hardcore. A lot of times they come across to me like a crustier, slightly more attention-deficit BORN AGAINST. This comparison also holds up lyrically and vocally - the Y chromosome part of the male/female vocal-tradeoff equation has a very McPheetersy yowl at points. (You can't tell from his record, but he went on to AMATEUR PARTY and ARMALITE).

I don't really know what else to say. This record thankfully helped inform my naive view of hardcore and punk as (ideally) an alternative culture rather than a commodity deigned upon our undeserving heads by Victory Records or an excuse for macho dudes to run into each other very hard. The out-of-press LP is worth seeking out for the 'zine insert. The music was just as formative - make sure you stick around for at least two tracks, because I'd argue that the opener functions almost as an intro.

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THE BUSY SIGNALS - LOVE AND DUST 7" EP (Douchemaster, 2005)

I have a feeling this record will eventually be one of those singles that people dig through boxes to find, stashed away and forgotten in some used record store basement, with the hopes they will stumble upon a copy of The Busy Signals' "Love And Dust" EP. Chicago's The Busy Signals feature some of the tightest, catchiest punk rock being released these days. Taking a heavy dose of influence from edgier power pop bands like The Breakaways (think their single "Walking Out On Love" specifically), The Busy Signals burst out the gate with three undeniably catchy, scathing tracks on their 2005 debut EP. The track 'Love And Dust' is the equivalent of getting hit by a musical Mack truck, with its deliriously quick start, lightning fast tempo throughout, and toe-tapping melody, one would think that this song alone makes the single worth your time.

'Just Wanna Go Out' maintains the impact of the EP's initial track, leaving you ready for the record's closing track, the sneaky 'Do What You Want'. Unlike the previous two songs, 'Do What You Want' shows the band taking the tempo down only slightly as to further reveal the band's ability to write pop gems. The formula is almost overly simplistic. However, that unto itself (at least in the case of The Busy Signals) is its very charm. These songs are not terribly unlike any slew of power pop bands from nearly 30 years ago (see: The Breakaways, etc.), and yet it doesn't matter. Fun songs are simply that and rarely seem to be faced with the often pretentious and frankly overrated "need" to constantly reinvent the wheel or break the mold. If you can do it better than almost anyone else, these things don't seem to matter.

The band has since released another single as well as a full length on Dirtnap Records in 2008. While the Dirtnap release is still widely available, you can check this EP out here (now in convenient zip file format for all you non-rar folk out there!)

DIALLO - DIAGRAM OF A SCAM 7" EP (Yellow Dog, 2001)

Diallo was an incredible hardcore band from Windsor Connecticut. They came together sometime in late 2000/early 2001, quickly recording a demo that would eventually become their first EP, 2001's Diagram Of A Scam. Diallo specialized in producing ear-splitting, politically charged hardcore. They also happened to be some of the nicest people I've had the pleasure of meeting/playing with. For a few years at the beginning of the decade, Diallo were constantly playing, releasing records, and organizing/promoting shows with impeccable consistency in the Hartford area (long before the current configuration of shows/houses/spaces/friendly faces that occupy Hartford's city limits). The impact and influence of their efforts were lost on most of us while they were happening...of course they were mostly taken for granted (I am as guilty as anyone), as most things of this sort are while they are currently happening under our collective nose. However, if you look back on what they did, when they did it, and how they did it, it would be naive to deny their influential stamp on the state of Connecticut's current punk/hardcore community.

If you happened to miss them when they were around, or if you've since misplaced your copy, below is a link for the aforementioned Diagram Of A Scam EP.

Enjoy!

FAILURE FACE "ALL PAIN, NO GAIN" 7" ep (Ebullition/Daybreak, 1995)

Another post, another record I couldn't scrounge the cover of. The only good thing about school beginning in scant few days is the revival of my scanner access.

So, this one's a fucking classic. I checked it out about two years ago based on a random recommendation. For whatever reason, they're positively lining used bins - probably because there are thousands of copies. Whatever, its availability does not detract from its brutality. At times it can be awkwardly dated - the nineties were a very confusing time for backing vocalists in hardcore, but it mostly takes the most compelling elements of DIY hardcore from this period and consolidates them on a single slab. It's ugly but almost catchy in it's strange reliance on traditional song structures.

The title and cover shot of a person in mid-leap off a very tall building about sum up the lyrical content. The musical ugliness and menace is matched only by the vocal venom with which lines like "every day that I don't eat the gun, I won! I won!" are spat. Bob Suren, the man behind the venerable but deceased Burrito Records, is the vocal abuser in this band, and gives it everything he can muster, which is surprisingly versatile.

Even considering the closing epic banger, the entire affairs totals in at seven songs in eight minutes. If you don't like it, I didn't take much of your time. Just download it.

While we're at it, here's an added download of their indispensable compilation track "Pure Entertainment".

THE NILS - THE NILS (Profile, 1987)

Hailing from Montreal, The Nils were an absolute gem of a band that existed throughout the early-to-mid 80's. Led by the brothers Soria, the band is perhaps most known for guitarist/singer Alex Soria's musical exuberance, having started the band while only 12 years old. Unlike their stellar 1985 vinyl debut 'Sell Out Young', their 1987 self-titled effort shows signs of maturity. Additionally, it also provided a glimpse into the development of the younger Soria's inner demons, which would plague him continuously until his suicide in 2004.

What we are left with are 10 fantastic instances of pop perfection. The album's opening track, 'River of Sadness', bears alot of comparison to mid-career Replacements, foreboding in a deeply personal way and yet generalizable enough to have personal impact on any random person listening to the song itself. These comparisons remain throughout the duration of the LP. Their re-do of 'In Betweens' (originally appearing on the 'Sell Out Young' EP) is a certifiable barn-burner (although I would add that the horns on the SOY version does add a little extra something to the track overall). If you aren't humming half of these songs in your head immediately after your first listen, you might need to get your hearing checked out. 'Daylight' reminds me of Bob Mould's better tracks off of Sugar's 'File Under Easy Listening'. While many are quick to pigeon-hole the band as merely "power pop", the obvious influences utilized by the Nils as well as the obvious influence the band has had on others since the album's release, are quite varied and apparent (particularly given the time period in which they released the bulk of their material). For that reason, it boggles the mind that such a group remains off the radar of many.

In making this post any longer, I am denying you the opportunity to be intently listening to this fantastic record. Check it out here.

MEAT PUPPETS "IN A CAR" 7" (World Imitation/SST, 1981)

The Meat Puppets' legacy contains several universally embraced highlights. Their aciddrenchedindiecountry masterpiece of a second album. Their unlikely 1984 U.S. tour with labelmates Black Flag. Their also unlikely but well-executed appearance on Nirvana's legendary MTV Unplugged performance. Their still unlikely 1994 alternative rock hit, Backwater (most certainly influenced by their aforementioned television appearance with Nirvana), off their 8th studio album, 'Too High To Die'. But to designate their debut record as a hardcore classic might seem, to many at least, the unlikeliest feat of all. And yet the band makes a rather convincing argument.

With their 1981 debut EP, 'In A Car', this rough-and-tumble band from Phoenix, Arizona comes charging out the gate with 5 tracks and about 5 minutes of some of the sloppiest, craziest, and most interesting hardcore the world had seen, particularly in 1981. The sound of punks murdering a circus clown, the Meat Puppets would begin to shift their musical direction shortly thereafter, as their 1982 debut LP and subsequent releases would reflect. Thankfully, such documentation remains.

(YOUNG) PIONEERS "EMPLOYER'S BLACKLIST" single (Whirled/Irony, 1996)

Adam Nathanson's folksy/bluesy leanings were already becoming evident in the last BORN AGAINST material. Once the unit imploded at the pinnacle of their creativity, they went a lot of separate, weird ways - most notably (to me) MEN'S RECOVERY PROJECT and Nathanson's YOUNG PIONEERS (they didn't add the parenthesis for a little while). The latter expanded on these more rootsy influences through a number of EPs and an LP on Sam McPheeters's illustrious, sadly-defunct VERMIFORM.

This little blast of a single captures the ensemble transitioning to a more coherent, less-sludgy sound than their early material. It came out around the time of the "Crimewave" ten inch and just before their transcendent output on LOOKOUT and subsequent breakup. Musically they are noisy, melodic folk ballads (complete with harmonica) that eschew traditional song structures run through a punk filter. Nathanson's vocals are heavily distorted, as with the entirety of the PIONEERS catalog, but his gift for boiling manifestos down to couplets is entirely clear. Though they are more loathe to repeat hooks than on their later material, it certainly keeps me coming back for more. The b-side, "(It Looks Like He'll Be Joining) The Navy" merely runs through it's brief lament of a "life where swears and curses meet" before immediately and abruptly disintegrating. You can find this and 15 other tunes included on the compact disc release of "Crimewaves", but I always prefer to listen to releases as distinct entities, maybe even moreso with (Y)P. Maybe you do too?

(Postscriptum - I must apologize for the lack of appropriate pictures with some of my updates, I haven't been able to find accompanying pictures anywhere on the internet. Next time I have access to a scanner, I will retroactively rectify these posts)

DEFECT DEFECT "DEMO" (Self-released, 2006)

While some may roll their eyes at the 80's hardcore resurgence that spanned from roughly 2004 to 2007, I always felt this four year window provided the masses with some remarkable bands. Others felt this time period triggered too many bands too soon, resulting in a bandwagon devoid of substance, plagued with redundancy, and littered with uber-obscure influences for the sake of pretension. Not to say those concerns aren't unfounded, but why only focus on the negative? Maximum RockNRoll's 2006 international compilation LP, Public Safety,will serve as a wonderful tribute to this moment in time and the bands that helped make it so.

Of course, one LP cannot and will not accurately or adequately represent any such time frame. Hence I bring you a demo by Portland Oregeon's Defect Defect. Featuring ex-members of fellow Portland outfit The Observers (who are featured on the aforementioned compilation), Defect Defect (named after the refrain from the Wipers' track "D-7") brought forth a brand of up-tempo, witty punk rock that distanced itself greatly from the gloomy, melancholic ways of The Observers. Tracks like "People My Age" and "Yeah, I'm A Terrorist" are anthemic yet simplistic, a beautiful combination the strips away any hint of the aforementioned pretension. This is just plain fun. No tricks, no gimmicks.

I had the pleasure of seeing this band in a basement in Chester, CT in the summer of 2007. I don't believe they've made any attempts to return to the east coast since that time. Since '06 they have only released two singles (the aformentioned "Yeah, I'm A Terrorist" and "Words", which also appears on this demo). While there stands a chance we might not be hearing from Defect Defect again anytime soon, we can at least enjoy this recording, a set moment in time not too long ago.

FUTURE VIRGINS "GRAVITY" EP (Plan-It-X South, 2006)

Some, especially those of us who came of age during the folk-punk explosion, may be predisposed to wince at the mere mention of Plan-It-X Records. Although I count myself in these ranks, I must admit it's often unfair. When the ultra-DIY label comes up in conversation, I tend to gloss over the fact that they have Delay, Dead Friends and Heathers to their recent credit. My mind instead goes straight to Best Friends Forever, Punkin Pie and Ghost Mice. The fact that PIX deals nearly exclusively in the increasingly useless Compact Disc format doesn't help their case with me either. Luckily, this "branch" of the loved/maligned label is run by the more level-headed codgers in This Bike Is A Pipe Bomb and releases lots of fine, drunken, Southern punk rock on vinyl.

This is the first FUTURE VIRGINS 7", and for my money the best thing I have heard by them. A drunk, gruff, suicidal pop-punk supergroup of sorts, with the singerman from the illustrious SEXY and folks from ADD/C. If this pedigree means anything to you, it should tell you that you're in for an exercise in musically-competent raw pop. The guitar tone is twangy, the recording is coherent but noticeably DIY, the singing is surprisingly croon-ey, and the hooks do not let go. The first blast seems to be orchestrated purely to demonstrate that the band can trade in all-out chaos as well, a musical theme they occasionally revisit, but it's over in forty seconds and making way for the "Followed To The Grave"'s ode to criminality. If you only check out one song, make it the next one, "Broken Down" - the chorus would fit in a stadium if its surroundings weren't too dirty to be anywhere but the basement of a punk house. This is, I believe, the only record they have that is currently out of print, so you can check it out HERE, and seek out their other three seven inchers if you're so inclined.

VAST MAJORITY "I WANNA BE A NUMBER" 7" (Wild Dog, 1980)

Vast Majority formed in 1979 after vocalist Scott Telles had been hyping his own fictional outfit called Shit Snotnose and the Scabsuckers. The band was eventually flyerbooked and decided to get together and write a few songs.

I Wanna Be A Number reflects this haste and lack of experience. To be truthful this record has some of the worst drumming and bass playing that comes to mind. And yet there is a quality to this record that keeps me coming back for more. The catchy vocal hooks perhaps? The melody that I keep humming 20 minutes after I listen to the song? Even I am unsure what brings me back each time.

After being featured in Killed By Death 8.5, this rough and tumble single now fetches for a pretty penny. Thankfully you can check it out HERE.

THE CLEAN "COMPILATION" LP (Flying Nun, 1986)

I imagine that I am not the only one that finds personal value in bands with a healthy level of humility, and The Clean certainly qualify as a band that knows a thing or two about humility. As a young and developing band in New Zealand in the early 1980's, a fan of the band offered to release their debut single, 'Tally Ho!', on his new label, Flying Nun Records. The band made several attempts to find a local engineer to record the single, but not one of the engineers found the band's material worth their time. The band resorted to recording their own songs, a method that continued for the duration of their career.

This healthy dose of humility, along with other sorted random events would help carve and develop The Clean's lo-fi pop sound. Nearly 30 years later, The Clean's influence is impossible to deny (along with the Flying Nun label, as they would go on to release material by the Verlaines, The Bats, and The Dead C), especially in the current ocean of lo-fi loyalists.

This record, a collection of their early singles, shows the band at their rawest and, in my opinion, their very best. The stripped down nature of their recordings provides a unique view of joyous naivete and solemn reflection. Tracks such as 'Beatnik', 'Whatever I Do', and the aforementioned 'Tally Ho!' are excellent examples of a young band excited to be...well...a young band: excited, almost anxious both lyrically and musically. Other tracks ('Point That Thing Somewhere Else' 'At The Bottom', and 'Fish' come to mind) paint much more haunting and melancholy scenes. Ultimately, these seemingly conflicting qualities do not make this compilation seem scattered or erratic. If not for the obvious title of this record, I believe many would think it to be a proper full-length LP.

With the band still playing and recording sporadically to this day, I suppose we are (for now, at least) spared the story of yet another band parting ways before they could reap the rewards of their painstaking efforts. And for those unfamiliar with The Clean's material in any capacity, you now have an opportunity to indulge yourself with some of the more beautifully simplistic pop songs recorded in the last 30 years by clicking HERE.

POSITIVE REINFORCEMENT "OUT OF IDEAS" cassette [Nation of Finks, 2005]

I have always tended to favor hardcore that is snotty and chaotic over that which is growling, tight or heavy - that is to say, without even a hint of metal. Even as my tastes have widen over the years, bands of the latter camp are more an exception than a rule. People of similar sentiments are in for a treat. This demo cassette captures the deceased Bostonian ensemble lovingly known to some as POSI FORCE at their rawest, turning in eight songs in six and a half minutes. It captures a band that is simultaneously amateurish yet tends to play on the listener's assumptions of hardcore (see the beginning of "They Took Yer Job", their general tendency to repeat great riffs only once or twice, and the abruptness of the final song). This delivery of playfulness combined with their witty lyrics and full-throttle, barely-coherent approach to musicianship have me immediately hooked. The pure vocal venom displayed in "Study Dates" coupled with its closing riff should be enough to convert anyone. Truth be told, they are easily in my three favorite bands to ever declare themselves straight edge. These folks didn't rest on their laurels after the breakup of this band (in January 2008) either, as you can now track them through groups like FAILURES, SOCIAL CIRCKLE, FOREIGN OBJECTS, CONFINES and BLANK STARE (most of those connections are the result of Ryan, one of the best and busiest drummers in punk). This cassette was followed up with a handful of 7"s and a one-sided 12". However, it is my favorite thing by them, and you can hear it HERE.

BODY ROT "TUFF MUSCLES" Cassette (Vinyl Rites, 2009)

Following up their debut cassette "We're All Pink On The Inside" (Cult Maternal, 2009) with a slight bout of re-instrumentation proved a resoundingly good idea for Tampa's BODY ROT. Now armed with a real drummer (I am told that the drum machine used on "Pink" has malfunctioned indefinitely) and one each completely novice keyboardist and guitarist, the group is more hook-concious but somehow simultaneously more unrelenting and dilapidated. No sooner is a hook established than it crumbles into a noisy game of catch-up due to the ensemble's inexperience with their instruments. Regardless, they have the courage of their strange, usually sexual/anatomical convictions, and that is frankly enough to sell it and makes this a great little EP. The male/female vocal tradeoffs work well, and the songs are genuinely catchy. Not-all-that-apt comparisons have been drawn to SICK LIPSTICK and MEN'S RECOVERY PROJECT - probably just because both of those bands utilize keyboards. This tape stands on its own merits. Unfortunately, a lack of lyric sheet seems to be standard for VINYL RITE's tapes - my Witches cassette doesn't even come equipped with a tracklisting. This release has been sold out from the label for a little while, but a few distros have copies, and you can hear it HERE.

Those inclined to ignore good things for bad reasons may note that CULT RITUAL's most notorious panty-thief mans the keyboard helm in this unit. Whatever gets you to check out this worthy release.

BASTARDS "MONTICELLO" LP (Glitterhouse, 1989)

This Minneapolis duo seems to not be receiving their due, in spite of the current resurgence of "noisy", "fucked up" and "blown out" punk and hardcore, even calling a luminous label of the style home. Following up a bevy of singles (available on an MLP collection), this eleven-song exercise in ugliness wallows in a veritable ocean of churning, mid-tempo blues-cranked-to-11 grunge punk. The manic, creepy vocals that are the sonic equivocation of contempt match lyrics about torching neighbors houses, self-mutilation, public urination, infidelity and other similarly uncomfortable themes. BASTARDS are generally at their best when they allow the tempo to quicken as on "Bo Diddley" or "The Joy of Gardening" (which is the closest the band comes to the typical punk rant against the faceless "you"), but the definitive track may be the titular closer. The slow groove exemplifies all of the album's most unsettling qualities (the vocalist gets to yowl during the verses and apply something resembling melody to the refrain of "there's something wrong in Monticello"), and the introduction may be the only respite from full volume instrumentation housed anywhere on the record, making it all the more effective. Butch Vig produced this record a scant two years before purportedly contributing to changing the face of popular music, but there are clearly few commercial aspirations involved here. I could not remark with any sort of authority about the last time it was in print, but YOU can download it HERE.