Nick Goes to Nashville

Nick 13
"Nick 13"
Sugar Hill Records
Released June 8, 2011




In order to give a review to this album, we must once again take a look at a genre from an outsider perspective.  Normally the leader of southern California psychobillies Tiger Army, as a solo artist Nick 13 is exploring his roots in traditional country music.  These tunes are an intentional throwback to the classic sounds from the 40's and 50's like Porter Wagoner and Slim Whitman.  Employing a lap steel guitar, brushed drums and the occasional fiddle, it is a far cry from Sugarland or Toby Keith or your pick of any pop country artist rotating on CMT today.  Instead, we are treated to some quiet, stoney introspective songs that explore Nick's softer side. References to Victrola, Route 101 in Cali, tattoos, disappointment, gambling and a wandering spirit show dedication to crafting something authentic and original, not just a cheesy, tongue-in-cheek reproduction.  Noticeably absent from this album is the dark, goth imagery that goes hand-in-hand with Tiger Army, despite the pair of songs redone from TA's albums. Even those have been given a thorough overhaul so their tone is completely in keeping with the theme of his solo debut.  Pretty much every track on here is a winner. 

On Tuesday night, Nick brought his road show to Johnny Brenda's in Fishtown.  We missed the beginning of the set because of extraordinarily bad directions from google maps (thanks a lot).  However, we saw enough to be unbelievably impressed.  He played the album plus two covers, but not the obvious choices that we predicted, instead choosing to expose the audience to lesser known artists (at least to the punk kids in attendance, myself included) like Ernest Tubb.  The show was not overly crowded and hence super intimate.  Sonically, it sounded exactly like the record.  Nick looked the part playing fifty percent of the show in a black suit, turquoise dress shirt and white neckerchief (no one could blame him for shedding the coat halfway through), with the rest of the band in varying degrees of hillbilly gear.  Nick's upright bass player was off the hook, caressing his instrument and dancing around with her like his square dance partner for the evening. Because of the size of the stage at JB's, the lap steel player was forced to the back of the stage with the drummer, but his sound was undoubted second only to Nick's voice as the predominate creator of ambiance for the evening. 

In Brief: Night Birds

We are pleased to introduce a new feature here at I Hope You're not Squeamish. "In Brief" will cover items that, while we may not go into as much detail as our normal features, deserve more than a link on the right. So, without further ado...

Those handsome and fearless gentlemen in Night Birds have been kind enough to release a track from their upcoming debut full length record. Fresh off the heels of the popular Draw the Night Birds Naked Contest, "Landfill Land" is one hot tamale. Clocking in a less than two minutes, it's a crash course in hardcore surf punk and is probably pretty representative of their expected-sooner-rather-than-later album the Other Side of Darkness. Keep your eyes peeled for it in the not too distant future on Grave Mistake Records. Also, these lunatics have decided to play a show at the Asbury Lanes and do the new record front to back, along with several other Jersey bands that are going to do the same thing. This is all ages at a bowling alley, so you definitely want to be there. For those of you not in the Jersey/Philly/NYC triangle, you too are in luck 'cause the Birds are out there sleazing it up on the Escape From New York tour, so check that shit out. We can't get off Night Birds' jock these days, but Fuck You, Surf Rules.



Night Birds
Grave Mistake Records
the Asbury Lanes

No Laughing Matter

Face to Face
Laugh Now, Laugh Later
Antagonist/People Like You Records
Released May 17, 2011





Though they haven't had a release since 2002, Face to Face manages to remain on pretty much the same trajectory that was interrupted almost a decade ago.  Following a string of solid releases in the mid to late 90's, Face to Face took a serious side-step on 1999's Ignorance is Bliss, deviating from their fairly straightforward punk tunes and embracing a more melancholy, mid-tempo sound.  The result was that while they still retained the muscle of their punk records, they found a way to be salient and introspective. A difficult line to walk, the risky decision surely cost the band some of its fan base, but it marked a new era for Face to Face.

Laugh Now, Laugh Later manages to bring the best elements of Face to Face's previous efforts, but tempers them with just enough variety to give the songs some drama.  There are plenty of "Hey!" and "Ohh-Way-Ohh" backing vocals and the super clean, chimey, open-sounding guitar is so familiar.  But the band continues their trend of not neatly fitting into stereotypes by writing more complex and challenging songs. These sound like tracks written by men, not punks.  Trever Keith has really come into his own as a songwriter by not (always) falling victim to the easy rhyme, but still not straying from the everyman blues that has consistently made up his lyrics.  "I Don't Mind and You Don't Matter" is probably the highpoint of the album, though it sounds like Keith might have burned two of his song titles on that one.  Particularly grabbing is the nonchalance with which he delivers lines like "I guess I should be sorry. I'm not."  "All For Nothing" and "Bombs Away" along with the two singles, "Should Anything Go Wrong" and "It's not All About You," are all fantastic tunes that sound exactly like Face to Face, each with their little twist.   [And we called it when we said the first single "Should Anything Go Wrong" sounded like the Bronx.  (See Up the Punx! (Social Security Checks))--None other than Joby J. Ford did the engineering for the album.]  Topped off by magnificent artwork by Corey Miller, Face to Face really deliver an excellent package.

Face to Face
People Like You Records
Corey Miller

Weaseling Out of a Comeback

Screeching Weasel
First World Manifesto
Fat Wreck Chords, Released March 15, 2010

What a weird couple weeks in which I have attempted to post a review of this record. I picked up the album on Tuesday the 15th, and gave it a couple of spins with an open mind, as I am certainly not as passionate about Screeching Weasel as many of the other bands that we review. (They are much more Mrs. Squeamish's territory.) But I felt like this was an important album to consider--it's been more than a decade since any new music was released under the Screeching Weasel moniker. This was Ben Weasel's big comeback after releasing some moderately well received solo albums. I wasn't really in a rush to post my thoughts; I knew that any number of outlets received advanced copies and had reviews up prior to the album's release. So I simply started jotting down notes as I listened to the record a couple of times, content with publishing my two cents within a week of the album's release.

But then it happened. Three days later, at the Fat Wreck showcase at South by Southwest, Ben took several swings at a female audience member, who supposedly was throwing ice at him, or spitting at him, or both, depending on who you ask. Then, in a blind rage, Ben tried to connect with one of the female club owners who was on stage trying to intervene. I have no interest in being another blog that puts up the embarrassing video--you can google it your lazy self if you want to see it (again, probably). Nor do I want to put up a public scolding of a grown man who knows that he stepped way, way over the line and was consequently left by his band and had to cancel the tour that accompanied the release of First World Manifesto.

It became hard to separate the man from the music, even though the album is pretty ok. Sure, some of Vapid's back up vocals sound suspiciously cleaned up and Riverdales-y or Methadones-y. SW has never really had that super produced sound, but he lays down an awesome solo on "Totem Pole." And Ben Weasel is no lazy lyricist--in fact, the album is more enjoyable having read the lyrics in the liner notes. Ben stuffs a lot of words into his lines, and drops some excellent five dollar words and phrases, beginning with his diatribe about the current state of punk, "Follow Your Leaders," through the obligatory quasi-political song "Come and See the Violence Inherent in the System." Joe Queer contributes some nice Ba-Ba-Ba backing vocals on "Creepy Crawl." In general, lots of shit talking, lots of pessimism, but what else is new? Throughout his career, Ben has purposely played up his curmudgeon status to his own benefit--who wouldn't expect a SW album chock full of insults? But it's hard to listen to him sneer about punks who are "frat boys with sillier haircuts," when he himself acts like one.

So Ben's out of control and unacceptable treatment of the fairer sex has now lead to the (millionth) disbanding of Screeching Weasel, not to mention the cancellation of his three day anniversary fest in Chicago. Philly also loses out because tonight's now terminated date at the Troc would have been the first major club gig for everyone's favorite Jersey/NYC punk/surf quartet, Night Birds. Tinging their always-on-the-brink-of-disaster punk with a heavy dose of surf guitar, the Birds are getting ready to release their first full length, and have just put out a comp of their earlier, vinyl only material on Grave Mistake. With both of these dropping this year, as well as their first gigs in Europe, 2011 is going to be a big year for Night Birds. Right now, the Troc would have been a huge space for this band, but don't be fooled--these guys take being in a band seriously, and if they can continue that commitment through the year, they are going to be moving out of the basement/art space shows quickly. It's just a shame that Philadelphia lost an early opportunity to catch this up and coming act.

Night Birds
Grave Mistake Records

We'll just take one quick opportunity to post some links for female victims of violence. If you need help, please realize that there is assistance available. If you know a lady who needs relief, please help her find the resources she needs. These places can assist in helping you find somewhere to stay, have to handle your relationship with your abuser, get therapy or almost anything else that you may need.

National Coalition Against Domestic Violence
Women in Transition
the Anti-Violence Partnership of Philadelphia

Back to the Basics (Unnecessarily)

The Queers
Back to the Basement
Asian Man Records, Released November 16, 2010

This isn't really a bad release. Really--it sounds pretty much the same as most previous Queers albums. However, for a full length that is only 22 minutes long, Back to the Basement seems to be unnecessarily bogged down by filler. Had the Queers stripped it down to the most essential songs, this would have been a stellar six or seven song EP. "Don't Touch My Hat," "Keep it Punk," "I Knew GG when he was a Wimp," and the title track are all quality tunes, though they are certainly not breaking any new ground here. (When have the Queers ever changed their sound, though? Everything from 1990's Grow Up forward has been based on a pretty simply formula that has always worked for Joe Queer.) However, this album as a whole is flawed by lazy lyrics and a total lack of production quality. Again, the Queers have never had great production, but this sounds so raw that you have to wonder if there was anything done to these tracks following recording. With just a little more attention to the drumming and a tiny bit of extra effort put into the backing vocals, Back to the Basement would be a little less embarrassing. Basically, if you already love the Queers, this record is probably going to appeal to you. If this is your first experience with these grandfathers of pop punk, you should disregard this one and start with one of their classic albums--Love Songs for the Retarded or Beat Off would be my suggestions. These guys are making their annual appearance at the Barbary in January, so be sure to catch that. Show up early and shake your ass to NJ's own the Sheckies and the Apers (all the way from Holland!), both guaranteed to please if you are into that sort of thing.

the Queers
the Apers
the Sheckies
Asian Man Records
R5 Productions (for tix to the Barbary!)

Not Quiet Hearse Disorder, but Close

We can't hide the fact that our musical bias here at I Hope You're not Squeamish obviously leans towards the punk side of things. However, most of the people we associate with can't stand that kind of stuff. Included in that are our musician friends, who are constantly creating bands that expose us to music that we might not come across on our own.

You may remember back a little while ago where we profiled electronic duo Valerna, we admitted almost total ignorance of the genre and simply presented an honest assessment from an outsider's perspective. So it will also be with this installment, a review of NYC industrial/goth trio Limousine Syndrome. Let's quickly clarify that when we use the dreaded "g" word, we don't mean any of the postured, overly dramatic antics or costumes. Instead, Limousine Syndrome does the genre proud by employing a bleak and minimalist guitar sound paired with a unnerving, yet still soothing, voice, backed by deceptively simple programing and keys. This is a desolate, atmospheric experience. In other words, you aren't going to jam this on the way to the beach, but it is perfect for late night drives, periods of creative concentration or maybe even intense Ouija board sessions. "Little Mermaids" is probably the most compelling track that they have released so far. Its constant beat keeps the song moving forward and concludes with some interesting spoken word. "Covered in Leaves" and "Love to Hurt You" are both reminiscent of the quieter Nine Inch Nails songs, particularly "Leaves" with it's super creepy piano line. All of the tunes are linked by their intentionally arid approach.

These guys have a show coming up in NYC this weekend, Friday the 5th at Port 41. They are playing with some other goth/industrial/genre bending acts, but this is really a mixed bag of performers. We would recommend that you show up early to see Quimera Music, as she is certainly the other strong act on the bill. The boys in Syndrome promise us that they have an EP in the works that will be ready in the near future. In the meantime, you can check out their official webpage or their Reverb Nation site to hear some tunes, watch their video and keep an eye out for future shows. For fans of Pornography/Faith/Seventeen Seconds era Cure, Dead Can Dance, tragedy and isolation.

Limousine Syndrome
Limousine Syndrome Reverb Nation
Port 41

Up the Punx! (Social Security Checks)

Here is your limited time opportunity to get your hands on the new Face of Face single, "Should Anything go Wrong." The release of this single is probably just to calm down super fans (like myself) who have visiting their website daily in hopes of the long promised, fall release date of Laugh Now, Laugh Later, their first full length since 2002. Laugh Now, presumably being released on frontman Trevor Keith's Antagonist Records, has been pushed back to early 2011 (nicely coinciding with Face to Face's 20 year anniversary). If this lead single is a sign of things to come, we may see something a little different from the southern Cali crew. "Should Anything go Wrong" is much darker than your typical Face to Face fare, taking some of the more aggressive sounds off How to Ruin Everything and mixing them with the melancholy pessimism of Ignorance is Bliss. When lead vocalist Trevor Keith is singing, it sounds, lyrically and melodically, pretty par for the course, but musically, this almost sounds like it could almost be a Bronx song. As always, there is that intricate, Descendents inspired bass line, but gone are the echo laden, open, high toned guitars. Replacing that is a super fast, deeper, more driven guitar sound. It sounds like Keith has taken on the backing vocals as well, a change from previous albums. Of course, this is only one song and may in no way resemble the rest of the album cuts, but so far as singles go, this one's pretty solid. Perhaps Face to Face is adding a little stronger edge on this reunion effort, and that wouldn't necessarily be bad. Side note: Keith was on LA Ink to get tattooed with this phrase by Corey Miller, who also did the album art for Laugh Now, Laugh Later. Miller is also apparently responsible for the album title. Interesting. When the album is out, check back here for a full review.

If you have two minutes (literally) and nothing better to do, the world famous Queers punk rock music group has two tracks from their upcoming full length streaming on their myspace page. Seriously, for a band that have approximately 23,654 albums (most of which have the same 30 songs on them), both of their new tracks are under a minute long. "I Knew GG when he was a Wimp" is certainly the stronger and more creative of the two. Joe Queer once again name drops the Rat, the long defunct, but mucho beloved Boston punk club, and gives us his account of "how it really was." "Fucked in the Head" is just a dirty, throw away tune, nothing particularly memorable. Oh well. Back to the Basement, due out in a couple of weeks on Asian Man Records, could be a pretty short, snotty album if these tracks are any indication. Again, a full review to follow its release.

Also, Ben Weasel contributed an interesting piece to Carson Daly's show about panic attacks and agoraphobia. Also appearing on Carson Daly, Off!, Keith Morris' (of Black Flag and Circle Jerks) new band that sounds suspiciously like Black Flag in a good way. Off! have a boxed set of their 7"s coming out in November on Vice Records complete with cover art by Raymond Pettibon, who did much of the most iconic Black Flag imagery. Preorder from Interpunk, and you get a free button and patch. Get your hands on this; it's pretty vital. Not a bad week for old punkers. (and apparently Carson Daly too!)

Face to Face
The Queers
Asian Man Records
Ben Weasel on Carson Daly
Off!
Interpunk

Nocturnal Aves and Cinema

Night Birds
Midnight Movies EP
No Way Records, released October 2010

This quick, low fi EP represents everything that makes a great four track punk record. The snotty, obnoxious vocals are loud and fast, and at times border on out of control. Though the guitar warbles like Dick Dale's, Night Birds neatly avoid the surf rock cliches that seem to be rising in popularity. (And declining in quality; let's face it, whenever a specific sub-genre becomes popular, there are only ever a handful of bands that do it well, just look at Celtic/Irish punk.)

On Midnight Movies, these young men from New Jersey/New York blend a very capable rhythm section with lyrics that are an overt homage to classic B-movie culture. The super bouncy bass and active drumming are the flawless back drop for tunes about chopping up bodies, blood and gore, and sci-fi daydreams. Night Birds manage to employ a nice variety in song structure. Even though there is a semblance of verse-chorus-verse, lyrically they keep things varied. Considering all four songs total less than six minutes, who wants to hear the chorus twice anyway? Like many bands of their ilk, Night Birds' smarter-than-your average-bear lyrics are hidden behind postured idiocy. Well done. For fans of Descendents, the Vandals, Showcase Showdown.

Two chances to see these guys in the near future, but Squeamies from Philly will have to take a trip over to the Asbury Lanes in Jersey to catch the madness. Saturday, October 23rd and Thursday, November 18th. Check out their facebook page for a little more details about the shows and the soon to be released Midnight Movies EP. Do yourself a favor--pick up this record and prepare to get infected.

Night Birds (facebook, for info and tourdates)
Night Birds (myspace, to listen to some of their older tracks)
No Way Records
Asbury Lanes

Summer Breeze Makes Me Feel Fine

Dry Feet
Philadelphia Beach
Self Released 2010

Zoltan predicts an indian summer thanks to Philadelphia surf punks, Dry Feet. Their debut album, Philadelphia Beach, is a must for all you rocking baggies while you're out shooting the curl. These dudes are straight out of the garage, devoid of any pretension or sense of irony. They are just putting out some good time tunes to inspire good times. Comprised predominately of jangly instrumentals mixed wisely with a couple of up tempo punk tunes, Philadelphia Beach may not be breaking any new ground here. But Dry Feet stick with what they know and since most songs clock in at under two minutes, even the less memorable songs work. As it's name suggests, "Slow Baby Slow" is the quiet tune on this record, a nice little jaded ditty about losin' your main squeeze. "I Can't Believe I Ate the Whole Thing" is a rockin' ode to excess. Add in a few made up monikers and an excellent, classic looking, surf inspired logo, and you have the best summer record released this summer. This shit was done on a budget and they are still givin' it away for free. Find these guys when they play near you. Hang Ten!

Dry Feet

So Long Virginia, I'm too Old for You

The Gaslight Anthem
American Slang
SideOneDummy Records, released June 15, 2010

On their third full length, New Jersey's Gaslight Anthem have managed to distill the sound they started several years ago. On this record, they took everything that they were going for on Sink or Swim and '59 Sound, the jangling guitars, gruff vocals, lyrical references to small town life, and put together what may be a more composed album, but one that has lost its sense of urgency and replaced it with over confidence. Gaslight have always said that they don't want to be pigeon holed as an Americana punk band, and they successfully move away from the elements of punk on their previous albums. This time around, their songs pay musical homage not only to Bruce and Tom Petty, but also Paul Simon and Van Morrison (and maybe even a little U2?). Best examples, "the Diamond Church Street Choir" and "the Queen of Lower Chelsea," the bridge of which sounds like their take of Simon and Garfunkel's "the Boxer." (Not to be confused with "Boxer," track seven on American Slang.) Guitarist Alex Rosamilia really steps it up a notch on this record, more experimental and more balanced with Ben Horowitz's drums, which are not so thunderous this time around. But there are still tunes that are classic Gaslight: the title track, "Orphans" and "Old Haunts." Anyone who enjoyed the first few releases from this band is sure to find a connection to the new album.

To their detriment, vocalist/lyricist Brian Fallon has taken his "old soul" personality a little bit too far. The record is laden with references to "when we were young" and "the days of our youth." Fallon is about 30 years old (maybe not even). I know, both from personal experience and from watching my friends, that it is common at that age to really reflect on your experiences and feel like life is quickly catching up with you. It is also true that Gaslight have gotten famous by singing songs that are intentionally throwbacks, but there is a distinct difference between embracing a retro sound and actually sounding old, especially when you are not.

However, Gaslight has never had a problem with slightly repetitive lyrics (how many songs on the first two full lengths and the e.p. talk about Maria and/or Virginia?) and, in fact, that consistency has actually worked to their advantage so far, establishing a specific "sound" for the Anthem despite their relatively short existence. American Slang is certainly the right balance of building upon their reputation and moving it in a new direction. They neither deviate too far from what is expected nor do they simply rehash what they have already accomplished. It will be interesting to see what is in store for these Jersey boys. Zoltan predicts an official Brian Fallon solo, acoustic record, and a more high profile guest appearance on the band's next album.

Shake my Tomb

Deftones
Diamond Eyes
Reprise Records, released May 25, 2010

Sacramento's Deftones have absolutely crushed it once again with another solid, solid release. Let's face it, the Deftones just do not write bad music, ever. Deftones probably hold court as the only band who, when their new album is released and the inevitable tour ensures, I say, "They could play nothing but this newest album at the show and I would be satisfied."

Good gravy, this shit is heavy as hell, with those numbingly down tuned guitars that dominate the Deftones' sound, and vocalist Chino Moreno's sexually soothing taunts alternated with his impossibly inhuman screams and yelps. Keyboardist/turntableist/sampler Frank Delgado gives a really standout effort on this record. Tracks like "You've Seen the Butcher" just slink along your inner thigh, Delgado's steady and evenhanded influence keeping the chugging, repetitive guitar line moving up your leg. In a lesser band's hands, "Prince" would be a boring hardcore song, but the Deftones opt for a weird guitar harmonic and balance it against a heavy riff, turning it into a nice psych metal tune.

Anyone who has been hanging in there with the Deftones' experimenting over the last few albums is going to be pleased, as there is decidedly more focus and ambition on Diamond Eyes. For those that saw White Pony as their Sgt. Pepper or Dark Side, well, you might want to reconsider rejoining the ranks of devotees because the Deftones have once again taken their warped view out on 11 songs. With more purpose and cohesion than they have been able to harness since Around the Fur, Chino and the other delinquents in the Deftones have distilled their love of contorted melancholy into forty minutes of piercing contradictions.

As alluded to earlier, Deftones are back out on the road to promote the new songs. However, whoever booked them on the posthumous Alice in Chains tour ought to have his brains bashed in immediately. I don't know what would possibly possess a manager to recommend this as a good move the band, but he or she obviously suffers from some perverted world view and should be locked away as a danger to society. It does put the Deftones into some venues that they probably couldn't swing alone, but who the fuck wants to see they play at dusk in some arena or amphitheater? I mean, the first song on Around the Fur is about how much they hate the sun, for christ's sake. Deftones shows show be strictly limited to dark, indoor places, so that the atmosphere can match the hopeless, desolate landscape that is Deftones' music. With that said, the stupid Alice in Chains/Deftones tour stop is at the Camden indoor/outdoor place in late September. If you do choose to go to this, definitely show up early to catch Mastodon's set as the early openers. Couldn't this show be just Deftones and Mastodon and be at the E-Factory so that it won't cost $75??!!

Checkerboard Charity

The crossroads of music and activism is among our favorite topics here at I Hope You're not Squeamish. So we are pleased to present to you Skanking and Moshing for a Cause. Out of King of Prussia, PA, 18 year old Evan Garo (sometimes Phoenix) is keeping basement shows alive in the suburbs and, as their name suggests, proceeds from all their events and releases are dedicated to charity. In his senior year of high school, Evan held two shows in his parents' basement to complete his senior graduation project. The money made from one went to help his folks purchase a ramp for Evan's wheelchair bound father, who has Multiple Sclerosis. The other show's door fees, $350, were donated to the National M.S. Society. Last month, Skanking and Moshing for a Cause put out a 26 song benefit cd featuring tracks by 26 different bands, many of them from the Philly area and a decent amount picked from Garo's own backyard in the suburbs west and north of the city.

This is exactly what we love to see. Young people keeping it local, trying to put something positive together using the resources available to them, and then turning around and reinvesting in society instead of themselves. Evan is passionate about DIY shows and said that there are a few halls and churches out near him that are supportive of homegrown music, but the events are usually indie rock or cover band oriented. By hosting the event himself, Garo can make sure that punk and ska bands can have a well coordinated, smooth running event that draws a decent crowd. Skanking/Moshing hopes to book other events in the future, this time setting their sights on the plight of child soldiers in Africa. He admits that he is aiming high, but is quick to point out that even his small contribution affects the kids who go to his shows and hopefully that effect ripples out.

Garo and Skanking and Moshing for a Cause balances high hopes with measure of realistic goals and pragmatism. While he wants to book benefit shows at bars and real clubs, he is willing to book shows in basements, even his own, for as long as it takes for the word to spread. His sampler is a homemade CD-R and the art is photocopied 'zine style, but he has aspirations for a second benefit disc with more professional presentation. His PMA is pretty inspiring. And its contagious. Based solely on some limited web promotion and word of mouth, the shows that Skanking/Moshing threw brought together well over a dozen bands (over the two nights, all of which donated their time and talent), a couple of hundred dollars that was donated to charity, and gave 50 or so kids something positive to do with their weekend. Not too shabby for an 18 year old kid trying it out for the first time.

The best part is, the music is not even terrible. Garo's tastes obviously are weighted towards the ska and reggae inspired punk and he manages to avoid the terrible, terrible hardcore that dominates so many basement shows. Not every band on the benefit CD is a winner, but there were some nice surprises in there, with a couple of two-tone styled bands that obviously know the history of their sub genre, and can really play tunes that are genuinely rockin' steady. If you don't like horns, this sampler isn't going to be for you, but with an open mind, and only 5 bucks that will be donated to a good cause, you can hear a couple of bands that will be playing (and some that already do), legitimate venues in Philly. In particular, be on the lookout for the Sheckies, the Mahlors and the Heavy Beat, all featured on the Skanking/Moshing comp, at a club/basement near you.

We wish Skanking and Moshing for a Cause the best of luck. For an organization that is still just a puppy with room to grow, they seem to have a pretty good head on their shoulders. We here at I Hope You're not Squeamish can't wait to see what else Evan and his crew of bands are able to put together in the future. Please check out their myspace page for more information on upcoming shows, releases and other charitable events. Also, we will second Skanking/Moshing's suggestions that you support both the National MS Society and UNICEF for the freedom of child soldiers in Africa and world wide. Both of these organizations do good work that benefits thousands of people--the victims of these tragic circumstances and their families.

Skanking and Moshing for a Cause

National Multiple Sclerosis Society

UNICEF

Pop Punk Lettermen

The Varsity Weirdos
Can't Go Home
It's Alive Records, released March 23, 2010

These fine young men out of Canada are crafting some pretty quality tunes in the same vein as, but not a direct copy of, the Guts, the Leftovers and the Copyrights. As evidenced by tracks like "Wanted by the FBI" and "I Hate the Phone," they are at their best when they pick up the pace. Like many pop punk bands (I'm looking at you, Methadones, Mopes, etc.) they suffer on the mid tempo numbers. Stuff like that is really only good to show off how cleanliness of your production, but usually just ends up pulling the momentum of an album down. However, when they do connect, they are swinging for the fences. There are some excellent lead guitars and well executed backing vocals without an overdose of "Whoa, Ohs." Some of these tunes are just so catchy ("Cut Throat," "Disconnected") and, like many bands of their ilk, they have contagious lyrics with just a enough of a hint of pop culture to makes the choruses instantly memorable. The inclusion of early vinyl only tracks on the bonus disc is clutch, as it gives you some background and a little perspective on their development as a band. These cuts are a little rawer, a little more reminiscent of the the Lillingtons' early stuff. When the Riverdales played in Canada, the Varsity Weirdos were called upon to open and Can't Go Home was mastered by Mass Giorgini, both of which are more than appropriate. If the Weirdos can keep it together for another couple of albums, I think that we can look forward to some progressive pop punk, and not just the same Ramones clones over and over again. Catch these guys on their only scheduled U.S. date at the Insubordination Fest in Baltimore, last weekend in June, where they will be joined by the creme de la creme of pop punk from all over the world for a two day extravaganza.

If you find your interest piqued by the Varsity Weirdos, please make your way on over to It's Alive's website and check out some of the other work they have released. Certainly, most of the bands on the label worship at the altar of '90's Lookout stuff, but there is a variety of methods of delivery between most of the bands. Varsity Weirdos is probably in the top five acts on the label, but they have enough artists to keep you busy for a little while finding your personal diamond in the rough. Even though some of their stuff is vinyl only, they always offer a either a cd-r or, more recently, a digital download so you have that shit in your itunes library. Enjoy!

the Varsity Weirdos
It's Alive Records
Insubordination Fest

Electro in a Half Shell (Techno Power!)

Our friends at Sixunder7 music have given us the drop on Valerna's new remix package that is going to be available for free soon. Valerna is hooking us all up with some free tunes because they are just so goddamn happy to announce their signing to Miles Dyson's German electro/techo/house label Plasmapool. Dyson is somewhat of of a wunderkind of dance music. He started out DJing at age 13 and quickly rose through the ranks of Europe's reining clubland rulers. These days, in addition to the original music he creates and the other artist's music he is remixing, Dyson also runs more than a dozen labels, each catering to a different interpretation of electronic music. Dyson is world renowned for his open embrace of all styles of dance music and has invited Valerna into his fold.
Their first release for Plasmapool, the Teenage Muntant Ninja Techno ep, builds on their already knock a motherfucker out sound. We were given an little inside listen and it is some wild shit. If Valerna know anything, they know glitches, those great little moments that catch you off guard and keep the beat from getting repetitive. "Up the Punx!" and "Burn it Down!" (both of which sound like they should be should be A Global Threat or the Unseen song titles) drip hydrochloric acid on the beat at precise points to isolate certain sounds, only to have the full rhythm back a second later. "Action! Disco!" takes a weirder turn and is a study in bending the tone, reminiscent of manually slowing a record with your fingers. Valerna is definitely skilled in building the tension of the song and then releasing it, and that is front and center on all three tracks. Look for it sometime around June.

Valerna
Sixunder7

20 Years of Beer and Adidas

The Bouncing Souls

Ghosts on the Boardwalk

Chunksaah Records, release January 12, 2010

It's nostalgic and a little bit sappy, but, at this point, who wouldn't almost expect that from the Bouncing Soul's album dedicated to their 20th anniversary as a band. There are only a few ragers on this album; it is definitely their most mid tempo collection, but it still has that kicking bass and poppy drums that has been their calling card for two decades--and the lyrics are pure Bouncing Souls. Every song on Ghosts is about being true to yourself, being loyal to your friends, and holding on to good memories. It is appropriate that these aging Jersey punks slow it down a little, and reflect on their years past. Plus, with a little help from Dave from the Loved Ones and Brian from the Gaslight Anthem, they still have those great gang backing vocals.

The twelve songs were originally released one at a time, on the first day of each month of 2009. So digitally, many of these have been available for a while. In addition, there were four pieces of vinyl issued each quarter last year--three songs that would make up Ghosts, plus a bonus track each. So the album kind of feels like it is a collection of singles, since it is, but that is fine. No one expects the Souls to release another Hopeless Romantic, and the majority of Ghosts on the Boardwalk is quality.

These guys still know how to throw a great party when they play live. For those who missed the anniversary tour in 2009, your loss. Given the extent of their touring last year, I would expect 2010 to be quiet for the Souls. If you are lucky enough to catch them in the near future (West Coast Squeamies! The Bouncing Souls and AFI are confirmed for the California installment of Bamboozle.), we highly recommend you attend. Scout's honor, you won't be disappointed.

Free Shit Alert! If you order your Ghosts on the Boardwalk cd from InterPunk, you get a free patch and pin.

Chunksaah Records

InterPunk

Sixunder7=GoodValernaMusic

Valerna
Snakes/Ladders EP
Tasty Bytes Records, released December 18, 2009

I want to give Sixunder7's electronic outfit, Valerna, a fair shake of things, so I feel it necessary to confess that I know shit about electronic music. Valerna's new EP, Snakes/Ladders, is available through a digital electronic distributor called Beatport. Beatport divides their artists into electronic subgenres, all of which were adjectives I had previously planned to use to describe Valerna's sound. I couldn't tell you the difference between house and trance, let alone some of the more specific and technical species.

That being said, Valerna co-producers RJ Buchanan and Brett Sorrentino make dance music that I can dig. It's got a fresh beat, and I can get down to it. RJ and Brett have been making music together since for quite some time now, in various different capacities, but started making music under the Sixunder7 moniker sometime around 2003, when they were producing hip-hop tracks in Boston with a crew of local MCs. Relocating to Los Angeles, they were reborn into club music and started both writing and remixing under the name Valerna, but maintaining the umbrella of Sixunder7 productions, which at this point had expanded to include film as well.

Valerna's latest concoction, the Snakes/Ladders EP, is a nice spacey dance record, much in the same vein as their self released, self titled demo album, and premier on Tasty Bytes Records, Oquataninwan. Snakes/Ladders is definitely designed for the club, where it would be sure to be a success with the right crowd, but it has enough pop sensibility to appeal to someone like myself, a casual electronic listener. Both tracks are quality and build to a crescendo at just the right rate. You really can't help but be inspired to shake your ass to this. It's fun, and while it's seriously good, it doesn't take itself too seriously. Highly recommended for driving, running, working out, going to the club, in the club, back home from the club...You get the idea.

In addition to their own releases, Valerna are also constantly remixing other peoples songs, from other electronic/dance artists like Oh Snap!! and Pance Party to Busta Rhymes and Nine Inch Nails. Some of it comes out on actual records, some of it is released just for fun via the internet. (I haven't heard We have Explosive, by Future Sounds of London in years, but when I found Valerna's remix on YouTube, it brought me back to high school.)

They played a string of shows last summer and fall and are planning more dates in January, plus they have something going with South by Southwest 2010. There is also some new remix work with Oh Snap!! ready to be distributed; details are still pending. So all of you west coast Squeamies, assuming there are some west coast Squeamies, put on some nice shoes, cause you can't wear sneakers in the club.

Sixunder7
Valerna MySpace
Beatport

PS- Prophet, one of the MC's Sixunder7 worked with in Boston, has relocated to the west coast and writes his own blog, My Life with Valerna. Subjects include, but are not limited to, Valerna, hip hop music and peanut butter. Apparently there is a different selection of peanut butter on the west coast, and it does not meet Proph's approval. Read up on this disturbing situation.

My Life with Valerna

We are the New Black

Blackhole
Dead Hearts
Koch Records, released October 28, 2009

We're serious as a heart attack. Fo' sho'. From the third member of the Carter clan (the other two brothers belong to hardcore wunderkinds Gallows), comes another more than decent hardcore album. Five guys making really good, screamy music. They know a thing or two about writing a breakdown but there isn't a trace bro dude bull-headedness. It's a nice starting place for a young band. The songs show just the right amount of brutality, without consciously focusing on odd time signatures or worrying about writing a nine minute opus, as is often the downfall of bands of their ilk. Lyrically, they could step it up a notch. Most songs are pretty straightforward emotional songs about isolation, self-destruction and a lack of giving a fuck, plus the obligatory "I hate/don't believe in God" tune. There is enough metaphor and thoughtfulness, though, to see where the lyrics could develop as the band ages and gains some experience. In the same vain, the music is pretty much by the books hardcore, but the quiet filler at the end of "We are the Dead Hearts" shows promise that Blackhole could fill out that sound and perhaps produce some nice psychedelic metal/hardcore. I would hope that this band would continue to develop and explore their sound and follow in the steps of, say, the Deftones. After all, Adrenaline is basically a rap-rock album, but shows what angry young men can achieve when they properly focus their anguish. Hopefully, their older brothers in Gallows will show them the way, so they can give us a sophomore effort that is worthy of the high standards they set with Dead Hearts. You'll probably have to special order this one, kiddies. Hit up your local record shop and ask them to get it for you. For fans of Gallows, Refused.