IN RETURN

I've been thinking a lot about Florida's Torche lately. Since I first heard them I've been absolutely hooked and they remain one of the heaviest live bands I've ever seen.

In the Spring of 2006 I went to see Mogwai at the Starlight Ballroom in Philly and was absolutely blown away by the volume and heaviness of the opening band, Torche. I knew the name, as they had opened up for Paint It Black a couple of years prior at the Church, but I had missed them then. I know the drugs had something to do with it, but I just couldn't get over their sound that night at the Starlight. Since then I've seen them once more, opening for Isis at the TLA.

The idea of intense riffs mixed with a slight pop sound is so simple and incredible that I wonder why it wasn't capitalized on earlier. Sabbath and QotSA might have flirted with it, but Sabbath relied more on songwriting than just riffs and Torche is a HUGE riff band.

Also, check out this awesome packaging courtesy of Robotic Empire.


I recommend: "In Return" and a six-pack.

sabbathbloodysabbath

Study the cover, imagine what it sounds like. It's necessary.

Night On Earth

Since I first saw "Dead Man", I've always loved Jim Jarmusch's films. The characters, dialogue, atmosphere and array of Tom Waits songs make them engaging and particular. I recently watched "Night On Earth", a 1991 film, which is (I think) only available on DVD through the Criterion Collection, making it a bit pricey.

Well, I just got Netflix so it was my first pick. "Night On Earth" features five short stories about the connections made between drivers and passengers in five taxis in five cities around the world. It takes place in Los Angeles, NYC, Paris, Rome and Helsinki. While overwhelmingly funny, there are some poignant moments that make it more than a comedy.

I highly recommend this film. Roberto Benigni's segment alone is worth every penny.

SPRING

Deathwish Inc.

When I starting veering from punk to hardcore in high school, Bridge 9 Records was making a name for itself with awesome records from bands like American Nightmare, Shark Attack and Carry On. Around the same time, Deathwish Inc. was putting out the more metal-inspired side of things, which I paid less attention to.

Over seven years I've watched a majority of hardcore recede from a scene of truth and individuals to a circus of flat-brimmed hats and tough guy attitudes. One of the only punk record labels that I've seen evolve and make an effort to branch out and put out new sounds is Deathwish Inc. I cannot compliment DW enough; they've released AWESOME bands like Rise & Fall, Life Long Tragedy, Pulling Teeth, Cursed, Breather Resist and Knives Out. These bands exist outside of the coffin that hardcore made for itself in this decade. They took hardcore back from the messageboards and reminded us all that no matter how dissonant, music is art. The packaging and artwork make me excited to buy music. It's no wonder it's run by a member of Converge.

I'm so fuckin thankful and stoked right now.

RIP Joey

7 years ago today Joey Ramone died from complications due to lymphoma. The entire world misses you, man. I'm sorry that Michael Pitt had to be in this video. You deserve much better, my friend.

Narrow Teeth

I rarely make the effort to get into new bands anymore, regardless of their genre. It's not that I think "it's all been done", there's just decades of music that's already been released and I'd like to focus on where everything from today came from, as opposed to where it's going. Traditionalist, I know.

It's not that I'm not into progressive music, it's just that I see a lot of today's music as idle and unoriginal. Unless the grandchild is Refused or Hot Water Music, why not focus on the grandparents? They were much more interesting. It was all their idea anyway.

Now, all of this of course comes with exceptions. I've been drooling over two new(er) bands for a while now. The first is Narrows, a band with only a single song available (http://www.myspace.com/narrowsnoise). The catch is that it has members of Botch, TAAS, Unbroken and many others. Botch's singer is back, this time with the brainchild of TAAS's awesome riffs, Ryan Frederiksen. I am so excited for this band to release their first 7'' on Deathwish later this year.

The second exception is Baltimore's Pulling Teeth. Their newest full-length, "Martyr Immortal" is the perfect batch of hardcore, punk and metal. P-E-R-F-E-C-T. I don't think they've created a new genre or anything but I just can't stop listening. Their doomy imagery, harsh vocals and riffs make me giddy inside. (http://www.pullingteethmd.com/)

New Wind

I recently found 7 Seconds' 1986 LP, "New Wind" on sale so I picked it up. As someone who grew up on "The Crew" I was expecting short, fast and lo-fi. Instead, the opening track "The Night Away" greeted me with long, slow and (still) lo-fi. I let it drag out hoping for a change in the rest of the songs and overall I think I got it. Although the songs are all longer and slower than most Seconds songs, it definately has some strong points. Standouts include "Grown Apart", "New Wind", "Man Enough To Care" and "Put These Words To Music."

The harmonies are surprising and honestly, some of these songs really aren't that great. Regardless, "New Wind" proves that although this is probably my least favorite 7 Seconds record, they can't put out a truly bad one.

I heard that in the liner notes for the original pressing of the LP they thank U2 for "inspiration". That might tell you something. Also, I found some evidence that they toured on this record with Youth Of Today and Verbal Assault.

Is this the new Green Day?

Shelly's in town for a couple of weeks and we spent the past three days seeing Henry Rollins, Paint It Black and Strike Anywhere in Providence and Cambridge, which was followed by 20 hours of getting drunk and philosophical with John. Thanks to the Sparks I consumed down by the Boston piers yesterday, I barely slept 4 hours last night. Today I feel like death and aside from coffee, Stiff Little Fingers' 3rd record, 1981's Go For It, has helped me get through the day. It's (obviously) no Inflammable Material, but the opening track, "Roots, Radicals, Rockers and Reggae" is really damn close. I can't believe I waited so long to get this.

"Comfort the afflicted and keep them from harm
Let age be protected and the infants be strong."

The World

In junior high and high school, my buddy and I used to trade our CD's and tape them, making copies for ourselves and expanding each other's knowledge of punk rock. One Friday he brought in the U.S. Bombs' The World, which was released in 1999 on Hellcat Records. I was really excited because the few songs I had by them on compilations had always stuck out to me with their Clash sound. That weekend I stayed at my grandmother's house, and I remember listening to that CD over and over again on my discman, in my mother's old bedroom. I didn't see one of those 18 tracks as filler; I loved them all.

I was drawn in equally by the sound, which took from the punk rock that I loved, ('77 punk as opposed to the pop-punk that was rampant at the time), as by the skater, cut and paste political imagery. I loved that the political imagery wasn't all anti-US as most of my punk records were. Although there remained criticism of the US ("US bombs the world"), there was underlying American pride in the WWII imagery and songs like "Yanks & Rebs", where Duane sings, "I'm proud to be an American!"

The standout track for me was "Joe's Tune", which is credited in the liner notes as written by Strummer himself. I have yet to find out the real history behind that song. Was it written by Strummer for the Bombs? Or is it a cover of a Strummer song I've somehow never heard? Either way, The World remains one of my favorite punk records from the 90's, and thankfully it's still in print.

"Well the black man got the rhythm
And the white man got the law
And I know one thing I've been workin for."
-Joe's Tune

"That dunce in the corner says he wants to be a cop
Caught me smoking in the toilet stall
Said "I'll get you when I grow up."
-Billy Club

Homme

As with most people with pulses, I think Josh Homme is the fucking man. And it's not just because he was in Kyuss or anything, but look at the man. Watch him smoke. Jesus. And he knows his garage rock history pretty damn well. Before I die I want a night out drinking with Homme and Jesse Hughes. I'm sure I'm not the only one who has thought that today.

Nobody Laughs Anymore

When I was first getting into punk in the 8th grade I immediately found a small group of older and like-minded friends. Together we started a tradition where everyday we sat on a ledge outside of our high school listening to CD's through crappy computer speakers connected to an old disc man. Though we listened to a lot of classic bands such as Minor Threat, The Dead Kennedy's and the Ramones, we were lucky because at the time the New England punk scene was blowing up. All of the best bands around were available for us to see live on a monthly basis in Boston and suburban Massachusetts. This was right when the Dropkick Murphys gained Al Barr from the Bruisers and started making a name for themselves nationally, and the Mighty Mighty Bosstones had released their commercially successful Let's Face It. Underneath all that were unbelievable bands like The Showcase Showdown, :30 Over Tokyo, The Pinkerton Thugs, The Ducky Boys, and my favorites of all of them, The Trouble.

Along with a couple of compilation tracks and 7'''s, The Trouble only released one LP, Nobody Laughs Anymore on GMM Records, which was re-released by Bridge 9 in 2005. The sheer force and energy of NLA along with Gibby's excellent lyrics, hooked me right away and I often found myself listening to it over and over again. I've always loved how it's a simple punk rock record, but in it are strong traces of street punk and hardcore. The lyrics are reflective, violent, and often dark, and the cover of Joy Division's "Insight" as a secret track cements NLA as a moody classic.

It's no surprise that the singer went on to form Panic, a front runner of the 2002'ish lyrical hardcore scene along with American Nightmare and Carry On. I'm sure a lot of people who didn't know The Trouble got into them from AN's cover of "Dead & Gone" on The Sun Isn't Getting Any Brighter EP, and because of the B9 re-release of Nobody Laughs Anymore. Either way, it's a classic 90's punk record, which gets played in my room on a weekly basis, and deserves more recognition.

"All things lost, nothing gained
Every passing day intensifies my pain
I look towards tomorrow, yet cling to yesterday
Hoping sometime I'll find my way.

Each day a reminder of my mistakes
Each day a reminder of what it takes
Nothing to look forward to from what I can see
The old days ended too soon for me."
-Dead & Gone

Bad Luck Zednik

In 2002, my friends and I went up to Montreal for a school band tour. At the time the NHL playoffs were going on and the Bruins and Canadiens were playing at the Molson Center. When we got off the bus in the city, proudly wearing the black and gold, Canadiens fans violently shouted at and threatened us in French. We reveled in it and it wasn't until we got to our hotel room and turned on the TV that we really understood the hostility. In the third period with a commanding lead, Boston's Kyle McClaren elbowed Montreal's Richard Zednick in the face, knocking him unconscious and dealing him a serious injury. As fucked up as it sounds, we were kind of elated and laugh about it to this day.

Well, Zednick now plays for Florida, and on Sunday it looked like his life had ended. His teammate Olli Jokinen's skate accidentally cut the external carotid artery in Zednick's neck, spilling blood all over the ice, ending his season. For a few minutes no one knew what to think and hockey feared the worst. At least he's okay now.

The only other time that I know of this happening was in 1989 when Clint Malarchuk, the goaltender for Buffalo had his internal carotiod artery sliced open by a skate, spilling blood everywhere. I won't post the video because it's pretty gruesome, so just search on youtube if you want to see it.

Anyways, cheers to Zednick. One tough guy.

My War: Side B

My War is probably one of the most simultaneously underrated and appreciated punk records of all time. The reason is mainly Side B: three sludgy tracks all over six minutes long. I feel like the people who are aware of it, are in awe of it. I've heard the Melvins cite those three songs as key inspiration for their sound, which in turn owes a lot to Side B because the Melvins inspired countless awesome bands.

When I was in high school I definately didn't appreciate those songs; I was a purist and those songs are not fast by any measure. I always loved Side A, with "My War" and "Can't Decide," and it wasn't until I moved to Philly that it all clicked and I really got the whole thing.

"Nothing Left Inside," "Three Nights" and "Scream" are how I feel inside on a regular basis, and listening to them is unbelievably fulfilling.

"I might be a big baby
But I'll scream in your ear
Until I find out just what it is
I am doing here.
Until then,
AHHHHHH!"

Ed Force One

Iron Maiden has done it. They're new 757 has been dubbed "Ed Force One." Right on, fellas! Aces high!

Rodney Mullen OS!

Live '84

The first two Black Flag records I ever owned were Damaged and The First Four Years, which both seem to be the starting points for most Flag fans in general. They are after all, the most "accessible" of Ginn's creations, in that they basically follow the punk formula of short, angry and loud.
When I was in the 9th grade an older friend gave me a cassette tape of their Live '84 record, which, since that day has held a spot on the short list of recordings that changed my life. I had never heard anything so angry and tight before; I didn't realize that sound was even possible! The transitions between songs were brilliant. I clicked with Black Flag like I clicked with the Clash; I could have been in that band; I was meant to be into them. They were for ME.
I became obsessed with that tape and soon wore it down. The drum beat never relented and it powered an hour and 15 minutes of aggression and release. I related to Rollins' lyrics on a level I had never experienced. Paranoia, fury and impatience. It was like when I discovered Holden Caulfield, only MUCH better. After all, my entire class read The Catcher In The Rye, but Flag was mine.
Songs like "Can't Decide," "My War," "Slip It In," "Black Coffee" and "Wound Up" became my "Here Comes The Sun," "While My Guitar Gently Weeps" and "Strawberry Fields Forever." I had found my Beatles.

Black Flag was a whole different beast live than on studio albums, and their bootlegs are the reason I'll always defend Rollins as Flag's best frontman. Live '84, Who's Got the 10 1/2? and the Annihilate This Week EP are some of the greatest live punk recordings ever. So heavy. So original. So influential. And somehow, so underrated.

Rabbit In Your Headlights

Last night I put on a random Radiohead mix that I had hanging around and "Rabbit In Your Headlights" came on. It's actually by Unkle and it simply features Thom on vocals, but sometimes I forget how great this song is. I worked someone once who had the quote from the movie "Jacob's Ladder" tattooed on their arm, as it's featured as a sample in the middle of the song. It's a great quote but it's also one of the longest quotes I've seen tattooed.

"If you're frightened of dying and then you're holding on, you'll see devils tearing your life away. But, if you've made your peace, then the devils are really angels freeing you from the Earth."

Anyways, the video for this song is one of my favorite ever.

Hipster Metal

Yeah, that thing. The trend of the last year or so in which hip magazines and Websites cover certain heavy metal bands they deem chic and cool. Some of its first subjects were progressives like Sunn O))), Boris and Mastodon. As frustrating as it was to see a Website cover and equate Mastodon and the Hold Steady together, it was understandable because well, Mastodon's really fucking good. It makes perfect sense for someone to worship both at the alters of Mastodon and Radiohead.

In fact, the only coverage that was truly dumbfounding was that of Southern Lord and Relapse bands. There is nothing remotely accessible about Sunn O))), which is why it has always been the underground of the underground. So why the coverage? Why the mentions in Spin, Rolling Stone and Pitchfork? The hipster metal fad has always been inevitable. There' always been something bewitching (sorry) by the darkly esoteric nature of heavy metal in general. By nature, metal deals with mysterious and unnatural subjects, which are both entertaining and contemplative.

So maybe the "hipster metal" fad should be of no surprise. Even Shins fans must find metal alluring for at least a little while. Doesn't that guy from the Mountain Goats write for Decibel? Today in a write up on the new Disfear record, Pitchfork referenced Tragedy, Kylesa and Victims. They just couldn't help it, though. No one can disregard D-beat and Sabbath riffs. That's the point! The difference is that next year when we're still here, they'll have moved on to something new. Just please don't let it be disco-punk again.

Top 20 of 07

THE LIST

20. Far From Finished - Living In The Fallout (Think Fast!)- Somehow this band went under my radar for a long time. They play punk rock the way I like it: influenced by the Clash and Social D. I can't get enough.

19. Neurosis - Given To The Rising (Neurot)- The most aggressive album of the year totally lived up to my expectations.

18. Pelican - City Of Echoes (Hyda Head)- Pelican are so good that even though this is their weakest record yet, it's still superb. "Dead Between The Walls" is one of their best songs.

17. Cloak/Dagger - We Are (Jade Tree)- I liked this band from the start, especially because I was a huge Count Me out fan in high school. I don't think all the songs are as strong on those from their demo or the "Pinata Breaks" 7'', but it's a great record nonetheless. "Kamikazes" and "Walk The Block" more than make up for the couple of filler tracks.

16. Torche - In Return (Robotic Empire)- I fucking love Torche. That's all that really needs to be said.

15. Pig Destroyer - Phantom Limb (Relapse)- I am not a metal head. Never was and never will be. But there's something about the violence and severity of Pig Destroyer that has always drawn me in. "Heathen Temple" makes my mouth water, lusting for destruction and ruin. Is that too cheezy to say about PD?

14. Explosions In The Sky - All Of A Sudden I Miss Everyone (Temporary Residence) -They (still) do it best.

13. Modern Life Is War - Midnight In America (Equal Vision)- Nothing MLIW will ever do will be as good as "Witness". MIA is really good, though; better than most people have been giving it credit for. Standup tracks include "These Mad Dogs Of Glory," "The Motorcycle Boy Reigns" and the title track. "I drag my chains, they don't drag me."

12. Arcade Fire - Neon Bible (Merge)- Neon Bible reminds me a lot of last winter. Snow days and cold apartments. Walking around Philadelphia freezing my ass off. It's a terrific collection of songs and though a little indulgent at times, it's really triumphant.

11. Ceremony - Scared People EP (Bridge 9)- Obsession.

10. Blacklisted - Peace On Earth, War On Stage EP (Deathwish)- Believe the hype! "Canonized" was the best hardcore song of the year.

9. Baroness - Red Album (Relapse)- I-can't-stop-listening-listening-to-this.

8. The Dillinger Escape Plan - Ire Works (Relapse)- Miss Machine part II. That's a really good thing. Sidenote: Gil Sharone is a maniac. Top tracks include "Nong Eye Gong," "82588" and "Milk Lizard." The closer is right on, too.

7. Grinderman - Grinderman (Mute)- Nick Cave is a fuckin role model. "No Pussy Blues" takes the award for best song title in music history.

6. Chuck Ragan - Feast Or Famine/Los Feliz (Side One Dummy)- This stuff has been on heavy rotation since it came out and was the soundtrack to my autumn. Really strong songs, namely "Do You Pray?"

5. Jesu - Conqueror (Hydra Head)- I always thought shoe gaze was really overrated. This proves me wrong.

4. Radiohead - In Rainbows (self-released)- Q: How did a new Radiohead record come out and it's not my number 1?

3. Dinosaur Jr. - Beyond (Fat Possum)- A: Because Dinosaur Jr. got back together.

2. The Good, The Bad & The Queen (Parlophone)- And because Damon Albarn made a record with Paul Simonon.

1. Pissed Jeans - Hope For Men (Sub Pop)- And because aside from Tragedy, Pissed Jeans are the best punk band on the planet.