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Clean Undies
Expressway to Yr Skull
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Get Off the Coast
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Music is a Sin
The Mythical Good Part
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Just in case you missed it, The Oblivians, supported by Andre Ethier, put on a free concert Thursday night at the Knitting Factory. Although I’m not a big fan of corporate involvement in music, I guess I should show some appreciation to Scion for sponsoring the event, not only because I didn’t have to pay money to go, but also because they were giving out free Black Lips/Pierced Arrows splits, and I snagged two of them. So, that was cool of them. But enough shilling. Let’s talk about rock.

Andre Ethier, photo courtesy of my crappy phone camera.
Opening up the night was Andre Ethier, with whom I was pleasantly surprised. To me, his set sounded like the psychedelic sounds of Bob Dylan. Ethier had the kind of stream of consciousness vocals that few people can really pull off, and when you hear someone do it right, it’s really something special. Whoever was on lead guitar duty that night was really driving it home. I’m hoping that’s not the last I’ll hear from Andre Ethier.

The Oblivians - another picture taken with my phone camera. Anyone want to be my photographer?
The fucking Oblivians. If you’re not with it, the Oblivians fucking rock. That’s all you should need to know in order to be caught up with what’s going on. They hit the stage, and annihilated for an hour and fifteen minutes before taking a couple of minutes off before the encore. I lost count of how many songs they played (can you blame me? they’re all a minute and a half long) but I did manage to keep track of how many fights broke out: three and a half. That half fight was when a girl poured her beer out on a guy’s head… it would have been a fight, but they were both too scared to hit someone of the opposite gender. Of course, things never got past a bro-style “hold me back!” exchange, as the crowd seemed to be able to completely separate aggressive-types, so things only seemed energetic, not dangerous. Exactly what you want at a punk rock show.
Each member of the group got to have several turns leading things, and everyone seemed to know exactly what’s up. After their reunion tour last year, they seem to be in fantastic shape; the band rocked exactly as hard as I’d always hoped they would. When Greg Oblivian sat behind the drum kit so Jack O could have a turn on the mic, things got both sloppier and cleaner, somehow at the same time. Greg’s drunken southpaw style on the drums was loads of fun to watch, and Jack’s songs had their own unique punch to them that I really appreciated; “Strong Come On” might be the best minute-and-thirty seconds of music of all time. For the encore, the guys brought up a friend to play some organ, and, of course, they continued to kick everyone’s asses.
If you ever get the chance, you need to see the Oblivians. They did mention they’d all just moved up to Queens, by the way… I’m hoping we’ll be seeing them around more in the future.
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[Flash 9 is required to listen to audio.]This Moment in Black History - Pollen Count
Public Square (Smog Veil)
The last record from This Moment in Black History, It Takes a Nation of Assholes to Hold Us Back, might have had more elements of math-rock that kick so much ass, but Public Square, their newest, has the same synth-punk elements of the last one, with even more emphasis on the punk. This one’s pretty great, but I must say I prefer the previous album.
I recommend this if you like riffs, noise, yelling, and fuzzy bass. I also recommend that you like those things.
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So much of the time when people talk about “songwriting,” they actually mean “lyric-writing.” It seems like the song itself is ignored almost completely, given the most boring, simple treatment possible. It’s offensive to music, it’s lazy, and I think it’s a cowardly evasion of something nobody really understands, a question which has so much importance: what is it about a specific piece of music that has an effect on you that you simply can’t stop? It’s something intrinsic in the sound, and, oftentimes the words have nothing to do with it.
Lyrics are of secondary interest to music. In a perfect composition, the words will be intelligently or cleverly written, and perhaps would work well on their own, but it is the music itself which makes it something without which you could not live. When lyrics are what you focus on first, before sound, you are a literary critic, not a music appreciator. You’re missing the point.
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[Flash 9 is required to listen to audio.]Tubers - Coconut Thunder
Anachronism (No Idea)

Hey, these guys kinda sound like Mission of Burma and Fugazi! That’s great.
Anachronism is great if you like angry guys bein’ angry. “Coconut Thunder” demonstrates the gnarled, punchy bass quite nicely, especially in the intro; “Small Signs Big Posts” reminds me of Shellac with its metallic, math-rockin’ lead guitar; and “High Tide It’s Inside” is straight, screamin’ punk-rawk with that sweet surf drum beat.
Well, I suppose I woulda liked something a bit more original, but … fuck it. This is fun.
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There’s a whole Mudhoney concert streaming over here; you need this.
I didn’t know Matt Stone was in this band.
You think the guys in Mudhoney ever listened to the Iggy, by the way?
(link via pas-d)
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Billy Bao - May 08 (Parts Unknown)
I stumbled across this LP at Mystery Train several days ago. The label said something like “revolutionary Nigerian skuzz rocker,” and the cover looked interesting, so I bought it.
Those words on the front and back cover are the entire lyrics of the album, and you can make out maybe a fifth of them. It’s a thick wall of noise, with vocals, drums, bass, and I can’t figure anything else out. At one point I was able to pick out a Fela Kuti song playing in the background, but I didn’t recognize any of the other samples.
It’s dense. Really dense. Maybe too dense, I suppose, because it starts to get boring. There are a lot of interesting things in here, however… perhaps he could’ve used an editor. But if I ever get face to face with the guy, I’ll never say that. Because, reading the front of the jacket, I assume he would literally rip me to pieces, and feast on my blood.
So, I’ve decided I like the guy. The lyrics are fiercely radical, but sometimes nonsensical. I understand, I think, where he’s coming from, however.
Capitalism show us that it does not care about humanity and we only care about individuality. People in the Western world are just fucking around, and I continue doing nothing but this. And you? Satisfaction? Are you happy? Are you going to go out? Are you having a nice dinner? Another beer? Another record?
… probably.
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I mean, not that we didn’t know this already, but here’s a piece of enlightening information about how the business works: even if you make them money, they probably won’t pay you.
Definitely an interesting read (as is, of course, the Steve Albini article he references, but that’s old news).
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Check out some sick photos of groups like the Mummies, Thee Oh Sees, Box Elders, Nobunny, et cetera… wish I coulda been there.
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[Flash 9 is required to listen to audio.]Face Value - Holding the Grudge
Rode Hard, Put Away Wet: Clevo HC ‘89-93 (Smog Veil)

(Picture via Double Cross, as it was the biggest/best Face Value pic I could find. Hope they don’t mind.)
Smog Veil’s been putting out some interesting stuff, and, while I think this is a cool release, it is unfortunately on the less interesting side of things. Face Value was a Cleveland hardcore band, and this record is a sort of chronology of the highlights of their career in the “Clevo HC” scene, which is a cool thing to do, and I applaud Smog Veil for doing what they do, which is mostly underground and experimental rock stuff. But if you’re wondering how this sounds, I’ll give you a hint: blast beats. Wait, shit, I gave everything away.
There are interesting parts on the record, but once they take it back to the blast beats, and they always do, then it sounds the same as every other song on the record. So, give this one a shot if you’re into quick repetitions, and, hey, give it a shot in general. I mean, seriously, have an open mind, would you?
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