To those not already familiar with Suicide Generation, there should be warning label on their records. These cats come out of the back alleys of London and in their wake is sonic whirlwind of chaos and destruction. They produce a sound that demands a nod to Detroit’s own The Stooges, but with a sonic flair that is ultimately their own. The results are arguably brain-splitting. Not surprisingly then that their new single Prisoner Of Love follows directly in line with this notion.
The title track “Prisoner Of Love” holds back nothing.Upon listening to this track, one can almost feel the unbridled nature of Suicide Generation blasting through their speakers. It’s a vicious assault of ear-piercing garage punk. If one has been lucky enough to survive one of their shows, then hear this shredding mess ought to bring back fond memories of a live performance. So, beware.
On the B-side of this EP are two tracks boasting of primitive rock n’ roll. The first track “Shitty In The City” harkens toward the raw style of 1970’s punk. It’s kind of along the likes of The Stukas or Johnny and the Self Abusers. If it wasn’t a contemporary song, it’d be surprising that “Shitty In The City” wouldn’t be found on a Killed By Death Compilation.
The other track “Rotten Mind” follows in the somewhere in between “Prisoner Of Love” and “Shitty In The City.” It’s a rapid fire punk number that holds no prisoners and is over almost as soon as it begins. Under the right elicit conditions, this track ought to inspire thrashing out of control. For the uninitiated and delicate “Rotten Mind” is an essential concoction of primal punk rock.
Suicide Generation’s Prisoner Of Love single shows remarkable promise. It’s a record that demonstrates their ability to be tight while still remaining as unbridled and savage as ever. Barring the ability to seem them live, having the volume peaking in the red will give listeners a glance into what it’s like to witness the ferocity of Suicide Generation’s live act—as well as some hearing loss. For that simple reason, check out Prisoner Of Love. It’s not to be overlooked, especially by any self-styled rock n’ roll degenerate.
Los Pepes boast an impressive lineup. They are Ben Primier (Vocals, Guitar), Gui Rujao (guitar, vocals), Seisuke Nakagawa (Bass, Vocals), Kris Kowalski (Drums) with Adam Smith of Newtown Neurotics (performing live Bass.) Their new album “Positive Negative” is a brilliant record. It’s grooves are filled with sonic splitting power pop infused with rapid punk rock.
This record celebrates the natural union between the invigorating sounds of sounds of punk and speedy power pop. Los Pepes style reflects a familiar fury that is akin to bands like The Briefs or Sharp Objects. It also invokes nostalgia for high voltage punk for lovers of The Boys,Motorhead or even Miscalculations.
Positive Negative lives up to the legend of Los Pepes rambunctious nature. This record is filled with hit after hit. Positive Negative is music that captivates with an awe inspiring delivery. When the needle drops on the this record, the result is to immediately succumb to sudden spasmastic shakes and shivers.
Such spasms result to jumping about as if being electrified back into the land of the living— like a rabid pogoing madman. No doubt this is a certain result if the right amount of electrified intensity is induced due to high velocity punk rock ,and a maybe few ales.
This is evident in the first track “Still Belong To Me.” It’s fast and wild and professes a desperate need to kick in the T.V in kind of sound. “Still Belong To Me” wastes no time in simple pleasantries. Rather it’s a tune that blasts the listen clear into the next week. It’s solid opening track.
Personally, my favorite track on Positive Negative is “We Need It.” This is the kind of tune that starts with a strong build up and wallops off with a packing punch. Think of it as cousin to Sharp Objects “Misspent Youth,” but less snotty and a bit tighter. Other tracks in this vein are “Think Back” and “Your Justice.” Some other honorable mentions for immediate consideration include “Let Me Tell You Something” and “Frustration.”
Not acquiring this album would not only be a mistake, but a betrayal of crucial judgment. This record ought to be put on your turntable and blasted from start to finish with the help of some liquid courage inducing vibrancy. If not for you, then do it for the neighbor’s sake. To do anything less may deprive those in close proximity of a vital headache, or inspiration. After all, we need something wild and electric like Los Pepes “Positive Negative” for our bleeding ears and soul.
For almost 10 years, Konrad Keele has operated an all-ages venue for Utah’s punk, hardcore and Ska communities. Standing at about 6’ 2”, Keele dresses casually-not with studs and bristles- and speaks with a reserved, but confident tone. Since 2016, he has owned and operated The Beehive Social Club, located on 666 South and State Street. He seeks to empower his community and friends by providing access to music through his venues. Speaking of his own transformative experiences, Keele says, “I’ve been changed through music. My politics are directly affected by the bands I listen to — my diet, my habits, my whole lifestyle.”
Check out the full article on Konrade Keele and The Beehive Social Club published @ Utah Stories!!
The Blankz White Baby/Sissy Glue 7” Slope Records Street: 07.13 The Blankz = Devo + The Epoxies + The Spits
Born in 2017, The Blankz are a vibrant electrical current of pogo-inducing madness. Together, they are Tommy Blank (vox), Jaime Blank (guitar), Andy Blank (bass), Johnny Blank (drums) and Nikkie Blank (synthesizer), who also fronts The Darts. They are from Phoenix, Arizona, and like their state, they are hot but not bothered. Their debut record, the White Baby/Sissy Glue record, is a lethal combination of orgasmic weirdo pop infused with the sensibilities of raucous punk rock.
Puke, Spit & Guts Eat Hot Lead LP Gladiator Records June 2, 2017
Out of the refuse of history is Puke, Spit & Gut’s long sought after Eat Hot Lead LP. This record is crass-weirdo garage rock infected with an unapologetically hardcore punk style. Puke Spit & Guts came from the San Fernando, California. They are Donny Death, Captain Worm, Dick Head, Marie Manslaughter and Stuicide.
Eat Hot Lead was originally recorded and released in 1980, through Puke Spit & Guts’ own label, Important Records. Decades later, the idea for reissuing this legendary record was taken on by Jello Biafra’s Alternative Tentacles, before Black Gladiator and Slovenly Recordings got ahold of it – a project ten years in the making!
NEWTOWN NEUROTICS PISSED AS A NEWT No Plan Records Street: 03.11 Newtown Neurotics = The Clash + Joe Hill
Newtown Neurotics have re-released a gem from the ‘80s. Pissed As A Newt was the first release from this highly underrated and increasingly important band. This album was recorded live at various locations in the late 1970s and early ‘80s. Locations included The Music Machine, London, Dane End Village Hall, Herts (August 1979), Harlow Town Park (June 1980)—among others. Originally a cassette, Pissed As A Newt finally sees the light of day as remastered vinyl by Nick Robbins…..
If one were to choose to walk through the layered depths of the punk rock community, they should strive to find themselves wallowing in the heat of the Punk Rock Bowling Festival. The festival is held on a parking lot adjacent to Fremont, and its largely open space lacks cover from the blistering heat of the sun. One can always purchase a $2 water to stay hydrated, although I’d wager that more money is probably spent on pints and whiskey cokes. The festival attendees are as diverse as the variety of punky hair colors, though there is the fascinating commonality of wearing all black, as if to tempt the wrath of heat exhaustion. The unforgiving heat aside, this gathering serves to inspire community and camaraderie under the banner of all things punk rock. The festival is a space where one can feel at home and comfortable while surrounded by those who celebrate the varied degrees of a storied subculture. Here, one can get all the applicable accessories from clothing, pins, hats and rare records from stalls like that of Anaheim, California’s Radiation Records. Unlike years past which have been largely apolitical, this year’s Punk Rock Bowling has an unofficial theme of denouncing Republican presidential nominee Donald J. Trump—a sentiment that is easy and popular to get behind.
Nearly 40 years ago, John Doe’s infamous band X hit the L.A. punk scene during a period that defined a pop-culture era. While London and New York saw the rise of rock stars from their respective scenes, L.A.’s own movers and shakers remained largely in the shadows—until now, on account of Doe’s new book, Under the Big Black Sun: A Personal History of L.A. Punk. Filled with the rich personal histories from participants of the L.A. punk movement, Under The Big Black Sun shares L.A.’s history with the world.
Dig the interview with X’s John Doe about Under the Big Black Sun: A Personal History of L.A. Punk published @ SLUG Magazine!!
The sincerity of Jail City Rockers stands out because they are approachable and always humble—traits one should expect from true punk rock n’ rollers. Jail City Rockers are the brothers Andrew and Gabe Bonilla, Aron Mikkelsen and the newly joined Gabey Spent, formerly of Duane Peters Gunfight. Jail City Rockers formed from the ashes of the Bonilla brothers’ prior band, Nobody’s Heroes, and for the last four years, they have tirelessly graced the Wasatch Front with their own design of roots-driven rebel rock. “I told Gabe when we started this band, ‘I have a huge London Calling poster on my wall,’ and I pointed at that and said, ‘Gabe, this is what I want to do,’” says Andrew. “I want to be a rock n’ roll band. I want to be a punk band. I want to have hints of old traditional ska music, early Motown, early soul—which is kind of what we grew up on. We wanted to take that and blend it all into one band.” Speaking further on the subject, Gabe adds, “We’re definitely not good enough to be a Motown band, so we do it our way.” Additional influences that have helped shape Jail City Rockers include a wide variety of musical genres such as 1980s hardcore, Blue Beat Jamaican rocksteady, ’50s rock n’ roll and, of course, 1970s punk. The result is true rock n’ roll with nods toward a Clash-inspired roots-rhythm rebel sound.
,br> Dig the full article on Ogden darlings Jail City Rockers published @SLUG Magazine!!
The Nods are a force to be reckoned with. Their membership boasts veterans of Salt Lake’s diverse music scene—Joey Mayes, Zach “Rocky” Maldonado, Travis Michael and Sean Michael Vincent—whose combined and individual appreciation for music is nothing short of incredible. The band formed in 2013 when Mayes and Maldonado started to hang out and jam after work. “[Mayes] said that he was working on a project called The Nods, and I thought that name was really funny,” says Maldonado. “But he was saying he was doing this band, so I jokingly asked, ‘Let me play tambourine with you guys,’ and he was like, ‘You should just fucking sing.’” After going to Mayes’ house with expectations set low, Maldonado was pleasantly surprised to hear a sound that reminded him of 45 Grave. Mayes recruited Michael to play bass, and after going through several drummers—including Samp Ravens/Brain Bagz’s Mikey Blackhurst—Vincent joined the band in November 2014. “I saw The Nods several times,” he says. “They were always underdogs—not very noticed. I liked it. It was mainly my interest in the band that got me into it.” Once Sean joined the band, Maldonado says, “That was the nail in the coffin.”