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.”
There is nothing quite like the awesome power of high voltage rock n’ roll to shock one into absolute attention. Audacity does that and more with their new album Hyper Vessels. In short, I would define this as having the raw electric power that bands like Radioactivity have perfected, but is sped up and maintains wild and heavy beats that are combined with a sound that is volatile and poppy.
It is clear within seconds of switching on Temporary Mutilation, that Useless Eaters produce a sound that is both provoking and edgy but is above all ominous. This is an EP that requires one to start at the beginning and go through to the last track to fully appreciate its certain brilliance. If you survive this listen, great, if not you’re probably not listening to it correctly or on the right substances.
DEAD BOD SELF-TITLED EP Menial Fare Records Street: 11.25.15 Dead Bod = Germs + Consumers
You and everyone subject to your sound system should note and thoroughly enjoy the sheer, brutal and deadly brilliance of Dead Bod. This self-titled EP beautifully captures a contemporary form of the late-’70s L.A. punk explosion, which inspires nostalgia for the movement.