The Loudmouths approximate the sound of California, circa-’78 so thoroughly that you have to wonder if they stumbled upon a time machine — snotty, buzzsaw punk-a-go-go. If you’re going recreate the past, make like the Loudmouths and do it well.
Exit Wounds (New West Records). Review by Jeremy Glazier.
Three Colored Wall (Tone Tree Music). Review by Jeremy Glazier.
e.g., rhapsodic (Nouveau Electric Records). Review by Bob Pomeroy.
Eight silent comedies from legendary character actor Edward Everett Horton get the love from Undercrank Productions.
A Tribute to the Subsonics (Mandinga). Review by Julius C. Lacking.
The Scientists have been conducting their Australian experiments in proto-punk for over four decades now, and it’s surprising that they’ve yet to publish in a peer-reviewed journal.
8 Days On The Road (Foghat Records / Select-O-Hits). Review by Christopher Long.
Disney princesses aren’t so happily ever, after after all.
Nothing Can Hurt Me Soundtrack (Omnivore). Review by Scott Adams.
Uh-Oh (Asphodel). Review by Lips Fresno.
Tattoos, grains of rice, multiple rapid-fire marriages. Artist Alix Lambert tackles an unpredictable variety of topics, and Matthew Moyer regains his faith in performance art.
Interview by Matthew Schaefer
Fast Forward (Pavement). Review by Nathan T. Birk
Gear Review by Phil Bailey
For the musician’s standpoint, we yield the floor to the compiler of the Ramones tribute album Gabba Gabba Hey, as former Adolescents and current ADZ lead singer Tony Reflex offers his reflections on one of his biggest inspirations.
Re-Interpreted (Bubble Core). Review by Carl Glaser
God Is A DJ (Arista). Review by Richard T. Thurston
All Harm Ends Here (Secretly Canadian). Review by Aaron Shaul.
An evil rabbit takes a young man on a horrible journey.
Ozomatli (Almo Sounds). Review by Julio Diaz
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