Terminal Boredom just posted their latest batch of reviews and there were a ton of Total Punk reviews amongst them, which I have posted below. You can read all of the most current Terminal Boredom reviews here.
Buck Biloxi & The Fucks- Holodeck Survivor 7″
I’ve said this about two or three other bands recently, I know, but is there a better pairing than Buck Biloxi and Total Punk?! “Holodeck Survivor” actually sounds like a first LP Reatards song (and rips off a riff from Jay and whoever he ripped it off from) and it’s an absolute crusher. Total. Punk. On the flip we get another certified killer in “Not Getting Stabbed” which originally appeared in an even lower-fi form on the ‘Duck Reduction & The Yucks’ EP (whatever the fuck that was), but this version is laced with a nice portion of mic feedback that adds just the right amount of shit to the fi. Lyrically, these two songs tie together high-concept ideas like Star Trek and fucking your mom and merges them into two absolutely unstoppable total punk forces that will dominate your turntable with a black gloved fist. I feel like this is one of the more “serious” Buck Biloxi records thus far, so watch out, and I also feel like “Not Getting Stabbed” is the real hit on this one but “Holodeck…” is still a jammer and all. I really appreciate that the band always makes sure to make an insert for their records, and although I wish this one had some lyrics as well, I at least got a laugh out of the newest aliases for the band members. Scum stats: 500 copies, hand stamped as always. Wish this one had a poster that came with it too…
ORDER HERE (down to less than 20 copies)
CHEAP TIME- Goodbye Age 7″
New Cheap Time material featuring a personnel change that reverts the band to its roots, with Jessica McFarland now on bass and backing vox adding a female to the band much like the very first line-up that recorded the ‘Spoiled Brat’ 7″. “Goodbye Age” picks up where ‘Wallpaper Music’ left off, with a leaner and punker approach that I think everyone appreciates and the female back-ups just seem right for the material Jeff is writing now. It’s a good tune that feels like the band is revving the engine before punching it on the flip side’s “Soon Over Soon” which packs a bit more exuberance and exchanges the A-Side’s cowbell for some keyboard action. This gal seems to be an exceptional bass player as well, and this single has me thinking good thoughts about ‘Exit Smiles’, the band’s fourth LP due out on In the Red next month. Couple that with Jeff’s new solo LP (‘The Lemon Kid’) coming on Trouble in Mind in November as well, and we have a very Novak holiday season to look forward to. Jeff’s done very well for himself so far, and I think he’s got a very good chance of going even further into the reaches of “aboveground” acclaim than he has already. The time seems right.
GARY WRONG GROUP- Knights Of Misery 12″
Gary Wrong has grown a toe or two since his/their/its last outing, morphing into a full fledged mutant combo. They’ve even managed to rope Quintron into the mix, letting him squiggly-doo about and oscillate away for bonus headspin. Knights Of Misery is somewhat like the robotic companion to the True Sons Of Thunder releases or perhaps the US tag teammate for the Satanic Rockers. A trifecta of sonic perfection, right there. “Post Natal Pre Death” is a fugged electro-tarded mulch that seeps a Wizzard Sleeve glop all over your Misfits slip mat. Especially since it’s a reworked Sleeve tune. “Reasons to Shive” is the serious breakaway broken pop jammer. I ain’t gonna’ claim to know jack about the lyrical meanings of any band, but the couplet of “…brown reason to live, pink reason to die…” is fucking brilliant. This snake has circled and begun to eat its own head. A few of you fools out there should stick n’ poke this into your biceps. “Heroin Beach (Serpents Attack)” gets a remodel on here as well. This time Gary runs it through a bleach cycle, pulling away a cleaner, shorter beast with some added creep-o-philia organ and a sharper vocal run. I christened this Bogglin© Rock last time out. It still is, only now the whole mess has slid even further down the demon pit, finding them lost in the late night cable listings of Hell. If this monster mentality is alright with y’all, then “Saint Theo” will bring out your giddy goosebumps once they break out the D&D references. Imagine an early Nothing People tune circling the glue pot while some LSD freaks get the idea to wedge a wooden spoonful of Sam & Dave inspired soul into the muck. So odd it might cure cancer. “Pollen Christ” and their Bad Times “Streets Of Iron” cover make for repeat performance at the end, using this OOP single to wrap the whole journey up like the red ribbon around a flimsy Tupperware container, filled to the brim with larvae encrusted peyote bites. Betcha can’t eat just one. As for the scum stats: Fuck it. If you’ve been on the fence, you’re too late to the dance (again). Maybe they’ll press up another batch…
REPRESS OUT IN THE COMING WEEKS
GOLDEN PELICANS- The Earls 7″
Last year I had the good fortune to see the Golden Pelicans on their home turf, and they tore the roof off of Uncle Lou’s (on a weeknight), solidifying this fact in my head: they are the best garage-slop band on the planet right now. The show was so drunk and sweaty I don’t remember much aside from having a fucking great time, but I’m pretty sure I heard at least one of these tunes that night. Or maybe not…but I do know they played nothing but hits, and if “The Earls” isn’t a fucking hit I don’t know what is. Party rock of the highest order: King G’s vox are the absolute apex of gravel-voiced perfection – every syllable enunciated with a snot-n-sneer shout that personifies the band – raw, rough and hammered. Guitarist Party Sub serves up the tastiest of riffs here as well and the Gooch/Lil Stink rhythm section put on a clinic. “Chained to this Dumpster” is the Pelicans’ most moving-est tune, giving some uptempo shake to the shinola, with The Gooch working OT on that bassline, King G doing some inpsired testifying. All sorts of guitar on this thing, twanged out licks and shredded riffs, and the boys support their fearless leader with some back-ups on the breakdown. Another shit-hot double A sider from the only band in Colonialtown that matters. Scum stats: limited edition poster version is a must-have, as are those Pelicans patches Florida’s Dying has for sale.
LIFE STINKS- Shadow On The Wall 7″
Q: What do ya’ get when you combine one mic destroying Ex-outdoorsmen, a disinfected stoic feedback thrower, a femme powered sturdy low end and a gonzo trap attacking longhair with an open affection for the Allman Bros?
A: LIFE STINKS. Zero food tunes or beach fun to be found, as God (Ned Hayden) woulda’ wanted it. I ain’t seen or heard a peep from this combo in over three months (I was following them like a Phish fan), but their mean spirited tracks are etched into my lobes permanently. Like those little holes left behind in the black screen of a child’s Lite Brite© set; you can close your eyelids, but the glare is still there. Burnt into your optical nerves. It just keeps repeating. LIFE STINKS. LIFE STINKS. We all need a drink.
The East Bay may have a few shinning stars and/or transplants, but none come close to Stinks rep in that rat infested, wine bar bloated burg across the stream (fuck you and your artisan craft cheeseries). Thankfully we get a little piece of them to take home. “Shadow On The Wall” is from less is more school of song writing. It plods along, slowly seething with the occasional drum seizure/guitar slash winning combo. Lifting all the right moves from Stickmen or Flipper, but still keeping shit as catchy as a Tenderloin STD. Snuffing all those squares who think that No Trend wasn’t savvy enough at slinging their strings. Plus: it’s a song about stalking. At this point you don’t even have to loosing me up with ladydrinks, I’m all yours. “Drag You” on the flip is a smidge more upbeat and nodding towards the leather jacketed dumb shits of past. Think of The Spits without a gimmick (and stronger chops) or a piss serious, down and out Misfits that doesn’t waste time in goofy spook show mumbo jumbo. There’s enough realness in these words to terrify. Chud’s vocals float this fucker to the top of the stale bathwater. He’s got the conviction ya’ need and the bluntness to deliver; like a modern day Stiv, Darby or Mike Hudson. Real talk. I only wish there were more bands around here this hostile, bitter and perfect (and not hardcore). San Francisco should make a souvenir squished penny machine in their honor. I’ll even cut them some slack for letting that Rot Shit loudmouth play bonus percussion live and turning ‘em on to The Dead. LIFE STINKS. If they break up, I’ll start a cover band. I will not let it go. (RSF)
Life Stinks sound exactly like a band called Life Stinks should. Disaffected, bored, misanthropic, sick, tired, fucked. “Shadow on the Wall” is dead end music that exists in the spaces where good vibes go to die. Disconnected and practically devoid of any emotions except hate and ennui, played so listlessley you almost miss its lecherous intent. The solo here sounds like a guitar dying a senseless death. Spectacular. “Drag You” sounds like the band is at least half-awake, creating a virtual wall of lethargy. I’ve rarely heard a band that captures such a complete downer vibe so perfectly without sounding like a joke. It’s a bit scary. I’m glad that Chud has found a new project, because as much as I liked the Outdoorsmen, there wasn’t much else he was going to be able to do with that band that they didn’t accomplish on the first few singles. Here, he seems to have found an even better outlet for his problems with the world in general. I’ve heard the LP already, and it definitely keeps up the aesthetic formed here. Highly recommended. (RK)