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Shudder to Think with Pattern is Movement – Theater of the Living Arts (Philadelphia, PA) – October 3, 2008
Playing some of their first shows in a decade, Shudder to Think were fantastic. Most of the setlist stuck to their Dischord glory days, though a few songs from their major label efforts made the setlist as well. A few of the songs that were rearranged for the live show lacked the power of their recorded counterparts, but for the most part, this was a successful and fantastic reunion show!
George Hurchalla – _Going Underground: American Punk Rock 1979-1992 (Zuo Press, 2005)
A much better, more thorough, better researched and more factual book than STEVEN BLUSH’s American Hardcore: A Tribal History, this book also covers more ground, stretching all the way up to the early ‘90s. Still, most of the focus is on the early to mid ‘80s, when the author was the most active in the scene. Of special note is the inclusion of lots of details about the old Philadelphia scene from that time period. Bands like F.O.D., THE DEAD MILKMEN, YDI and even my neighbor RICH HOAK (who later joined BRUTAL TRUTH and now also plays in a band called TOTAL FUCKING DESTRUCTION)’s old band HOMO PICNIC are all mentioned, but scenes from other cities across the country are also covered. These range from the old New York scene (our own JACK RABID was interviewed for this book and he’s frequently quoted) of the early ‘80s to the acclaimed DC scene (with a special focus on MARGINAL MAN via quotes by guitarist KENNY INOUYE) to the Texas, California and Midwest scenes, just to name a few. Highly recommended!
Bruce Springsteen – Ben Franklin Parkway (Philadelphia, PA) – October 4 ,2008
Playing only a short acoustic set for no more than 40 minutes, it was still nice for me to finally get to see Bruce Springsteen play live and for free as well. The occasion was great as well, as the event doubled as a voter registration drive (remember that the last day to register or change your registration here in PA and in many other states is this Monday October 6th) and a rally for BARACK OBAMA as well.
The Trashcan Sinatras – A Happy Pocket (Go! Discs)
Upon hearing the news that a new album is on the way (you can hear a snippet of their new single here) and that their entire catalog is being reissued next year as well, I listened to this fabulous and underrated 1996 album a few times this past week. It’ll be nice to see this back in print and easily available after being hard-to-find (and expensive) for so many years, especially since it contains sublime tunes like “The Genius I Was” and “How Can I Apply?” that many, many lesser bands only wish they could’ve written.
The Thirteen – The Secret History of The Thirteen (self-released)
You may remember that a few weeks ago I wrote about this band’s fantastic debut show at the Tritone, which culminated with guitarist JOE IACOVELLA accmpanying former DAG NASTY vocalist PETER CORTNER on an impromptu acoustic version of “Things that Make No Sense” (from the incredible Field Day album). Well they now have a record out and though it doesn’t quite match the power and energy of their live show, it’s still a winner and the trade-off is that some of the slower material (such as “Yer Prog Rock Past’ and “Cold Water”) fares a bit better here. Still, if there’s a better and catchier power-pop song this year than the irresistible “Bubblegum Crisis” that’s not on Julie Ocean’s Long Gone and Nearly There, I haven’t heard it.
Daisy Chain – Straight of Lame (Sundazed)
This is wonderful psych-pop from an all-girl band out of Orange County that was original,ly released in 1967 and reissued a few years ago by the great Sundazed label. Admittedly, I first heard about this band recently via VIVIAN GIRLS’ cover of this album’s “Run Spot Run” (which they call “Blind Spot” for some reason) and I’m glad I did.
Career Suicide – Attempted Suicide (Deranged)
Holy early ‘80s hardcore Batman! Yes the comparison is a bit tired, but this great Toronto band really do sound like many of their heroes from 25 years ago. The twist is that they’re tighter and the production on this record a bit cleaner, though still raw and dirty enough. It’s as if PAUL MAHERN of ZERO BOYS fronted a way tighter version of European bands from that era like UPRIGHT CITIZENS, B.G.K. or RAW POWER. Thus, it nicely splits the difference between bands from the era with slightly more melodic vocals and those with harsh, thrashy tempos and will appeal to fans of both. Simply put, this rules. You get 13 songs in a little more than 20 minutes and that’s only because the last track is an epic of over 5 minutes, with a great song followed by almost 3 minutes of silence and then an annoying hidden track that’s just pointless gibberish (as most hidden tracks are). Otherwise, it would’ve been even faster, shorter and even more in-your-face! Still, this feels like a punch to the gut and it’s great music to work out to. I have the urge to start flailing myself uncontrollably whenever I listen to this.
Julie Ocean – Long Gone and Nearly There (Transit of Venus)
I reviewed this a while back and I’ve liked it from the get-go, but for some reason I’m digging it more now and going back to it often. Anyway it’s 10 songs in just a little over 25 minutes, so at first it’s like a blur but multiple listens reveal huge hooks on tracks like ”#1 Song” and “Here Comes Danny”.
Saint Etienne – Good Humor (Sub Pop)
I love Saint Etienne and his is my favorite album of theirs. Almost every song on here is an instant classic and songs like “Split Screen,” “Lose that Girl,” “The Bad Photographer” and “Erika America”, just to name a few, are among the finest indie-pop of the ‘90s.
The Chills – “Double Summer”
I’m including this song on here for a number of different reasons. First off, I listened to it 5 times in a row yesterday. It’s just absolutely gorgeous. I sometimes feel that their later material (including 1992’s Soft Bomb, from which this song comes from) is sometimes undervalued by fans because Soft Bomb as well as 1990’s Submarine Bells both were distributed by Warner Brothers in the U.S. As such, they’re both slicker than their early singles and 1987’s Brave Words, but who cares when a song as gorgeous is this is on there! I mean, what a song! I love the build-up to the incredible chorus and the incredible coda (which reminds me of ELVIS COSTELLO’s “White Knuckles”) even more. MARTIN PHILLIPS is a genius and a world in which he has to shoplift instead of him being a huge star is obviously an unjust one without ears!
