Record Reviews: November 1996

Wake Ooloo
Stop The Ride
Pravda Records 

American rock and roll at its best, this is truly a feel good album in every sense of the statement. Out of the same vein of old Buffalo Springfield and even the sounds of The Feelies, this is a band that will claim the critic’s love and probably lose the large mass of MTV fans in the end. A double-edged sword in a band’s career – it may guarantee critical praise, but can also hinder any huge commercial success in the long run. Giving out a true pop flavor, the group seems to follow a common goal: basic rock and roll music that stands the test of the fan of true underground pop music. This is how bands like REM and Big Star probably sounded on their first couple of takes in the studio, starting out as young musicians just playing the music they loved and felt strong about playing. Simply put, a great pop debut album with a lot to offer if you’ll just listen! —Billy Fish

Satanic Surfers
Hero Of Our Time
Theologian Records 

Coming atcha like a kickball in the sack, the first initial sound of the Satanic Surfers is something similar to a demo tape received by Epitaph Records and refused. Indeed, the vocals are similar to The Offspring, and the lyrics vaguely like the humor of NOFX, but lacking the punching power of either band. They seem able in both musical talent and team camaraderie, somehow it just didn’t rub off like a true winner to me. This might be due to the fact that anything they remotely sound like isn’t too attractive or unique at all. Not blatantly obnoxious or distasteful, they still don’t kick it home with me, making me prefer to hear the veteran bands they resemble instead. Playing quick and tight punk, maybe they should slow up a tad and try to figure out who exactly they wish to cover or copy in style. It just doesn’t sound like anything new or original to the barrage of California punk bands that choke the pages of Maximum Rock & Roll every issue. Sorry boys, but keep trying! –Billy Fish 

The Phantom Surfers
The Great Surf Crash of ‘97
Lookout! 

Crashing down on a shore near you, The Phantom Surfers are back with an array of killer surf tunes that are guaranteed to help you get it up on your board or otherwise! Coming directly out of the garage, these old school fanatics put together a rough and ready set of both surf instrumental and classic vocal shots that put the rest of the poser surf scene to shame. Sounding as old and vintage as a classic station wagon, their nostalgic approach is a refreshing slap across the face in this day and age of surf/ska/garage punk copy-cats bands, especially from the East Bay scene. You can almost picture the old Fender that bleeds out ultra-clean leads and power strumming, with the silly Montgomery Ward special five piece drum kit tapping away a delicate rhythm alongside the bopping bass lines. Fun and very loose, The Phantom Surfers ignore the 90s, embracing the sounds of the past, and taking us back to a time long gone, but not forgotten. Grab your beach blanket and a big pair of swimming trunks, cause the next wave of smooth tunes is about to begin under the canvas sand tent! Let’s go! —Billy Fish

Lazy
The Lazy Music Group
Roadrunner 

I don’t know what it is about Cincinnati bands, but they remind me a lot of underground Northwest groups, especially the ones that come out of Tacoma, Washington. Heavy as hell at times, they still can strum a mean and clean guitar, sticking poppy tunes deep into your cerebrum. Lazy is a little stronger than most, pushing hard sounds from the six string, yet not too abrasive to discourage the low-fi lovers to jump on board too. Approaching from the coed angle, the Sonic Youth influence can be seen too, with vocals being traded off between the tired female and the loser male counterpart. A couple of tracks sounded so much like Thurston Moore singing, I searched the small print of the linear notes for his guest appearance, which never came (damn!). Good copy anyway, kids! Playing from the no scene side of music, this is as strong an outing as it gets for three kids from the Midwest. Whatever your specific taste is in the underground indie scene, give it a test run and see if you won’t be buying your own copy as fast as it takes to ring it up! —Billy Fish 

The Notwist
Only In America
Zero Hour 

This smooth and sassy EP is by far the most diverse sounding disc I had the pleasure of reviewing this month. Yes, dominating guitar and soothing vocals dominate the sound here, but combined with great studio strings and woodwinds, this comes off like a veteran performance by a group that knows how to get a huge mix without compromise. Starting off subtle, yet commanding complete attention from the listener, The Notwist creates music that has a familiarity with both hard-edged rock (semi Soundgarden and Skin Yard) and more melancholy college noise of the early 90s (Replacements and Sugar). The best thing is that you really can’t compare completely to any of those artists or others out there. It stands by itself as a strong new band, making a big impression on this new writer, since all I ever hear from new groups anymore are the sounds of the influenced or impressed. Looking to place high in the crossover market, this first offering from The Notwist is hopefully just a taste of some great things to come from them in the near future. —Billy Fish 

Headcleaner
No Offense Meant… Plenty Taken
Big Deal 

Oh, man… This shit is good! Raw as a Richard Kern film festival, this power trio knows how to kick the shit inside out! Brutal in their attack, Headcleaner takes the path that Helmet began, but step past where they left off and keep clearing the trail. Concentrating on less huge power chords — the simple guitar is sent into overdrive, rearing up ugly solos and jams that go off like a horde of rabid baboons looking for a fresh kill. The noise is staggering, picking you up in their jams that are made for the pit to slam away under heavy casualties. I can imagine a show with Headcleaner is a sight to see, with addictive noise that plays the same crowd as Fugazi would draw to their shows, wanting something to hear that is cool to see and move around about the venue. This disc takes off like a Concord jet, smashing through the cuts with heavy speed. A top pick for the listener who enjoys hardcore and a strong chord jam with blinding bass/drum backup. Personally, this offering is going on my shelf for a rare keeper in my review pile! —Billy Fish

Baboon
The Numb EP
Grass Records 

Grass Records would like to think they’re the next Amphetamine Reptile, pushing noisy bands that rely on distortion and attitude, and maybe they have a chance. Take the latest mini-offering from Baboon, which is a supreme example of the underground talent that Grass is picking up for their label. Spewing out a sound similar to an old V8 with too many miles on it, they waste no time kicking into high gear with a crunchy punch that breathes anger and hostility. The drumming reminded me a lot of earlier Cramps, but soon went off the deep end, with the drummer riding the crash cymbal like a school teacher beating a snot-nosed kid to death. The guitar work was no less subtle, tearing through chords with brazen fury. Add the vocal styling of a tortured soul burning in a like of fire, and you might have a slight idea of the demented noise created. Dropping in a punky anthem chorus now and then, the main course surrounds primal screaming combined with raunchy guitar swirling around the raw vocals. Keep this CD out of the reach of small children and the elderly, since it tends to have a big bite that’s sure to leave scars!  —Billy Fish 

Archers Of Loaf
All The Nations Airports
Elektra / Alias 

The supposed darlings of the music media, the Archers are out with another slam at the world of dissonance and humor. Starting off like the crack of sheer thunder, the CD sounds like a screeching of tires, forcing you to attention against your will. It’s worth it, though, as the Chapel Hill boys take you out for a crazy ride with their guitars ablazing and drums a-smackin! Rock and roll from the crotch and off the seat of their pants, Loaf creates a breeding ground for distortion and fuzz, letting the amps bleed with electricity. At times delicate, it never lasts long, shifting down to burn out in speed freak fashion that takes the listener by surprise if they by chance take the time-out seriously. Rough vocals coupled by rude tones and guitar, this is not a pleasant record in the ears of the pop fanatic. It’s appeal is that it comes across with true power and legitimacy to the fan of offbeat melody and left field sounds that crawl in your ears to stick like super glue. Sharp and rusty, Archers will nail themselves inside you until you figure out how to stop playing this soon-to-be-favorite on your shitty stereo. —Billy Fish 

Boilermaker
In Wallace’s Shadow
Goldenrod 

I knew this was my disc of the month from the very get go I slipped it into my wacked out stereo. Overflowing with talent and pumped up to the max with energy, this band kicks out some serious noise for being so young and unknown. Very similar to Quicksand or even Orange 9mm musically, they can still stand out by themselves, especially with such a great vocalist that can belt out strong voice without scratching and tearing the lyrics into pieces. Strong as hell, but very tender at times, only veterans Sonic Youth can show this much diversity and still sound legitimate. Tracks like “Iris” and “Breach” show their full on guitar/distortion approach, but can still slip in a lovely piece like “Slow Down” to show an amazing variety of sounds. No need to look any further for the next new group to get hooked on, cause Boilermaker has it all – power, rage, and conviction to boot. And on top of it all, a ton of talent with catchy hooks, both musically and lyrically, to make a follower of even the most picky convert. Get it now! —Billy Fish 

Citizen Fish
Thirst
Lookout! 

The British still have something to say/sing, and if you haven’t figured out that punk is still big on the English rock, then you haven’t been paying attention to the damn scene at all. Citizen Fish is one of the bigger punk/ska bands offered by our limy friends across the Atlantic, and so very damn cool. More low-key than the usual drivel we seem to continually hear in the states, the music really seems to be constructed on with these young lads. The open chord, non distortion guitar strumming reminds me a lot of the better Clash or Specials tunes. More along the vein of Operation Ivy though, these kids really have a catchy sound that sticks inside your head like the first time you remember hearing old Jamaican dancehall. Because of the ska overtones, it might not seem so accessible as old school punk, but really takes on a true pop/punk flavor. A much needed change from the hoards of American punk that often gets too repetitive to tell apart, the new British equivalent to our punk revolution might be the outside addiction that will keep things fresh and moving forward indefinitely… who knows? —Billy Fish

Crankcase
Scrap
Static Records 

Nothing will frustrate me more than a poorly mixed album, especially when the music itself screams out for proper sound. Listening to this disc, I was reminded of the first time I heard The Stooges’ Raw Power. Not that they are similar at all. The similarity lies in the fact that they both were produced horribly, and as much as I wanted to enjoy what good things you heard, I could never get the fact out of my head that someone was slaughtering an otherwise amazing set of songs! Granted, Crankcase could use a few ends tightened up, but a raw band has to be mixed at least equally to fully appreciate their finer points. The vocals, which tend to be monotone and droning, drown out the strength of the band, which is the outrageous guitar work, which reminds me of experimental Flaming Lips or Spacemen 3. The bass is almost completely lost, and some of the hardest hits on drums are so low at times, I wanted to toss the disc in utter frustration. But the problem isn’t the music itself, but how it happened to be laid out on the four tracks that is responsible for a less-than-average sound that it ends up being. Listen to the music yourself, and tell me if not only the listener, but the band was cheated, unfortunately, in the end. You be the judge too! —Billy Fish 

Discount
Ataxia’s Alright Tonight
Liquid Meat 

Coming off like a group of silly and fresh youngsters, Discount is the sound that will be growing in leaps and bounds soon in the indie scene everywhere (if not already!). Musically, it sounds like quick punk, ripping through the power chords with the speed of a coke freak. Lyrically, however, it sings like simple pop love, pushing the feel good attitude that seems to get lost these days with all the hard-on punk bands. The female vocalist is so damn sweet, it’s hard to imagine her jumping around on stage with the rest of this tough outfit. Easily the standout member of the group, she lays down a command performance, belting out the lyrics above a loud racket that ranks near the top for talented musicians in the baby punk scene. A strong outing for a new band, they combine the poppy sweetness of an outspoken schoolgirl with the urgency of horny youngsters out to charm the pants off any listener catching them in action. —Billy Fish 

Better Read Than Dead / Bored Generation
Various Artists
Epitaph 

Boy, do punk labels love to throw out the big teaser compilations all the fucking time! Just from a marketing standpoint, it’s an excellent ploy to saturate the curious listener with a good sampling of many of their artists in order to spark consumer interest and buying power. But besides that, it’s a cool way to push an idea or sound a little farther with more bang for your buck! Better Read Than Dead is a benefit to aid the radical and revolutionary AK Press, which has been publishing independent, left-wing literature for years and has many fans inside and outside of the punk music scene. Cutting up the place to pieces, bands like Snuff, Pitchshifter, J Church and Napalm Death have tracks that were donated to help the cause for freedom of speech and amazing singles. Bored Generation is more mainstream, with large hitters like Beastie Boys, Helmet, and Primus making guest appearances on Epitaph’s label to grab a hold on the more middle-of-the-roaders that still need the buzz clip nipple to suck on. All things considered, the two are cool combos to get a bite of a number of good bands, new and old, that still have a lot of energy that needs to be passed on to the waiting masses. —Billy Fish

FIFI
Sinkhole
Low Blow / Triple X 

Easy, boys! Damn, these guys are out to break every land speed record, ripping through their tunes with a bloody vengeance! Completely influenced by old school punk, the sound created is a cross between bad television static and the feedback of early live The Exploited shows. The gutter/guitar work is all over the spectrum, laying down crummy garage riffs to ear-splitting solos similar to Kramer-esque/MC5 styling. The singer grunts out lyrics like your stereotypical 70s punk anarchist, with the occasional howl of angst to further the uneasy feeling of hearing this band. Where does all this anger come from anymore? Are there still kids forming groups in the socially depressed cities of Manchester, England or our very own Detroit? I don’t know, but FIFI sounds every bit the legitimate concrete victims as old samplings of U.K. Subs, Germs or even the early raw Joy Division recordings. Angry music for a brutal world, FIFI is straight up and strong. Pulling no punches, this CD will literally attack you, making you a believer or leaving you exhausted in its ugly wake. —Billy Fish

Furious George
Goes Ape!
Lookout! 

As much as I love Lookout! Records, I can’t go for these guys at all! Punk has many forms, and some of it is really painful to hear, especially when it is so damn obnoxious like this pain trio. I am curious to know if they spent more than an afternoon writing and recording this three-song EP, which should have never gone beyond the realms of a 7-inch release. The lyrics read like fourth-grade poetry – crude and juvenile at best. The guitar is at high treble, whining through simple chord after chord, doing nothing more than start and finish the most basic-sounding songs I’ve heard in years. But the vocals are the most annoying, braying out like a drugged-out donkey, barely understandable, not that it’s bad, considering the lack of songwriting and lyrics in question. If anything, Lookout! shows that either they’re too generous with their CD distribution or even the best labels make a bad choice now and then. —Billy Fish

The Groovie Ghoulies
Appetite For Adrenochromel
Born In The Basement
Lookout! 

Both released years ago on vinyl only, these punk pop specials are just barely seeing the light of day in the CD form with Lookout! for the first time ever. Appetite… (released in 1989) is a whacked-out number, brimming to the top with songs about King Kong, the Blob, and tons of creepy stuff. Rough and basement rock worthy, this first intro to the Ghoulies reminds me of classic Lime Spiders (one of my personal old favorites!) from way the fuck back in the good ol’ 80s. Very basic and very raw – the young talents for this band make their first cry for attention. Born In… is pretty cool too, but a tad more slick, showing what years of practice can do for kids doing the punk rock thing and loving it! More nutty shit about blood, monsters and spooky shit, the topic of horror is still on the top of the list for the Ghoulies having fun with their unique brand of pop macabre. Not to be taken too seriously, but meant to just giggle along with, The Groovie Ghoulies re-releases are a hilarious look into the dark spectrum of evil and have a nice chuckle or two! —Billy Fish

Read more record reviews from the archives:
Record Reviews: November 1996
CD Reviews: October 1996

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