Flinch! - Dyslexic Rhino

Name: Flinch!
Album: Dyslexic Rhino
Year: 1999
Style: Rockabilly, Punk, Grunge
Similar Bands: Dead Milkmen, Butt Trumpet, L7, Danzig, Misfits
"One-Word" Review: Raw Raucous Rock
Based Out Of: Gaithesburgh, MD
Label: none

Cover & Backs

Liner Notes & CD 

Dyslexic Rhino (1999)

1. Lonely Holiday 1:54
2. Kick the Can 1:33
3. Hail Bop 2:02
4. Octopus 2:48
5. Angie Speaks 2:31
6. Candle 2:25
7. Baby Said 1:50
8. Schizophrenia 3:02
9. Downtown 3:32
10. Here We Go Again 2:01
11. Expontaneous Combustion 11:04

Album Rating (1-10): 8.5

Members & Other Bands:

• Doug
• Kevin Good - Mixing
• Djodjo - Mastering, Artwork
• Melissa  - Vox
• Al - Vox
• Stephanie - Photo
• Rodrigo - Artwork
• Rossano - Artwork
• James Belmore - Vox
• Al Armbrister - Drums
• Luciano Silva - Bass
• Thomas Kendrick - Guitar

Unknown-ness: Never heard of this band, from the album + randomly generated title, they're about 5 years to late for the self-made alt-grunge vibe the album puts out. The poor quality photo with a "green screen" effect makes them look like the album should have been made in 1991. Adding to the dated vibe is the 11 min long track 11, which is in all likelihood, concealing a hidden track of phone pranks and fart noises.

Album Review: The songs are solid: fast and driving punk, like Hail Bop, with touches or rockabilly like on Schizophrenia, and juvenile humor. Octopus sounds like a straight up Dead Milkmen song. Candle, or the fuck you song, reminds me of The Misfits.  Three songs are fronted by female "guest vocals," guests, because none of the band members are listed on the liner notes. The final song is a 3:35 instrumental, followed at the 9:30 mark by a raunchy sexualized hidden track. 

Nothing is out there on the internet about this band, aside from a minimal Discogs page (which doesn't include this album...only a compilation of this and another one) and some download/download requests). Which is a shame, because these folks sound quite competent at what they do.

Stand Out Track: Candle, Kick the Can

Links:

Discogs

Uniform (the) - If It Takes the Form of a Human, I'll Kick It's Ass

Name: The Uniform
Album: If It Takes the Form of a Human, I'll Kick It's Ass
Year: 1999
Style: Math Rock, Garage Rock, Punk, Noise
Similar Bands: Spoon (early), Black Rebel Motor Cycle, Shellac, 7 Seconds
"One-Word" Review: calculated speed garage
Based Out Of: Baltimore, MD
Label: Morphius Records

Cover, Record

Back, Record

If It Takes the Form of a Human, I'll Kick It's Ass (1999)

1. Ten Second History of God 1:36
2. Midget Colony 1:34
3. My Thoughtful Response to Human Behavior 1:19/
4. If It Takes the Form of a Human, I'll Kick It's Ass 1:27
5. Four Reasons Why I'm Not a Communist 1:16
6. Calling Shit Shit, When it is 1:50

Album Rating (1-10): 7.5

Members & Other Bands:

• Paul Flum - Bass, Vox (Helikopter, UV-373, Black & Vain)
• Randy Rampage - Drums (The Great Unraveling, The Thumbs)
• Christian Sturgis - Guitar (Quattracenta, Lo Moda, Advlts, Fascist Fascist)
• Colin Seven - Writer (Rogue Conjurer, Universal Order of Armageddon)

Unknown-ness: Never heard of this band, and apparently, according to the back this is #229 of a #350 series of this EP. Based on the year and cover art, i imagine this is a sweaty, garage & fuzzed out rocking Electric Six, Mooney Suzuki type. However, considering the less than 2 minute track lengths, they might be more of an emo hardcore/thrash band.

Album Review: This ep of six songs totaling right about nine minutes is an exploration in math rock meets speed garage. Some sites have them classified as noise (but i sense more melody than most noise outfits) and a couple of the tracks are instrumentals. The EP sounds much rawer than the songs compiled on the spotify album link, and definitely have a local melodic speed punk band quality. The title track actually remind me a little of early Spoon.

This is apparently their second release, first for the label. Flum moved to Portland, OR and has most recently been working on an experimental TV series on Youtube called "I'm Carlos Now." There is generally very little about this band out there, as none of the members went on to create anything popular enough to cause folks to dig back to this band. 

Stand Out Track: If It Takes the Form of a Human, I'll Kick It's Ass

Links:

Spotify: compilation including these tracks

Discogs

Allmusic

Bandcamp
T-DT-B
Rate Your Music

Last FM
Paul Flum's site
Sturgis's Quattracenta Bandcamp

Greg Kihn - Greg Kihn Again

Artist: Greg Kihn
Album: Greg Kihn Again
Year: 1977
Style: Power Pop
Similar Bands: Buddy Holly, Kinks, Big Star, Steve Forbert, Dave Edmunds,
"One Word" Review: Earnest-Songwriter-Pop
Based Out Of: Baltimore, MD
Label: Beserkley, CBS

Greg Kihn Again - Cover & Record

Greg Kihn Again - Back & Record

Greg Kihn Again (1977)

1. Love's Made A Fool of You 2:44
2. Island 2:38
3. Last Of Me 4:48
4. Real Big Man 5:02
5. Politics 4:20 /
6. Hurt So Bad 4:45
7. For You 3:57
8. If You Be My Love 2:50
9. Madison Avenue 4:49
10. Untie My Hands 3:16

Album Rating (1-10): 7.5

Members & Other Bands:

Greg Kihn - Guitar, Vox
Dave Carpenter - Guitar, Vox
Larry Lynch - Drums, Vox
Stephen Wright - Bass, Vox (Fiat Lux)
Matthew King Kaufman - Producer
Glen Kolotkin - Producer, Knobs, Dials, Switches
Gary Phillips - Producer
Tom Lubin - Engineer
P. Brown - Mastering
Flashing Neon - LP Concept
PIGment Fate - Mask
J. Seabury - Assistant Mask
John Jensen - Cover Photo
Moshe Brakha - Back Photo
J. Blodgett - LP Coordination
J. Ingber - Stylist
K. Turtle - Stylist

Unknown-ness: I've never heard of this band. The cover looks silly, the back band photo looks like they are having lots of fun, so I figured this would be a nonsense, easy going pop song album full of singer songwriter fun. But I sense there might be some pretentiousness since the main guy uses his name as part of the album title. You have to be pretty stuck on yourself to use your name as both the act and the title.

Album Review: “Love's Made A Fool of You” is a Buddy Holly styled song, with deeper vocals and an electric guitar. And it has the start/stop rhythm of the song “I Want Candy.” (funny thing is, it is a Buddy Holly cover)
“Island” as a ska adaptation that feels like it could be an Elvis Costello song, but it is even more faithful to the reggae/ska style. It is smooth and feels like it belongs right there at an island themed chain restaurant.
“Last Of Me” begins slow, and feels like it could continue with an island theme with its choice of keyboards sound. But this is just a slow-dance ballad. I’m getting the image of an Eric Clapton number or perhaps nicer put, the Kinks.
“Real Big Man” is a smooth AOR, power pop number: similar to Big Star, but not quite as unique. As the song progresses, it leaves the gentle smooth style, and starts to become more mid-western pop rock, like Mellencamp or even a little like the A’s.
“Politics” has a driving, marching beat that reminds me of James K. Polk by TMBG. The melody is nice, in a sweet, earnest way. I keep feeling like the song is going to break into Van Morrison’s “Wild Night”

“Hurt So Bad” begins with a whiny heart broken electric guitar. Then the song becomes more than a ballad, and evolves into a Kinks-like pop song. After a chorus of sing a long repetition of hurt so bad, the song revisits the intro weepy guitar. But it quickly returns back to the catchy pop number
“For You” reminds me of Bob Dylan, as it is a story song where the lyrics don’t necessarily match up with the music (at least in the beginning). He dips his vocals from nasally balladeer and dips them, when necessary, deeper down in range, giving a broad nice and unpredictable delivery. The song knows its strongest hook in the chorus, and in two sections, strips the repeating chorus with down to the simplified hook during last minute of the song.
“If You Be My Love” is a thoughtful ballad, where it is not just a slow dance, it is of slow but melodic pace with a few slightly faster sections. It again falls in the category of near southern style AOR rock.
“Madison Avenue” follows up with a songwriter’s pop song that reminds me of Tom Petty. The only exception is the harmonized mass-vocal chorus. It is nearly magical in its sound, perhaps a little psychedelic.
“Untie My Hands” continues with the new age psychedelic vibe thanks to its prevalent bass and electric guitar mash up and progressive melody. This instrumental track is defiantly very structured, in an unexpected way. I would have thought that an instrumental track would have been a jam, but this calculated track has a definite Prog vibe.

Stand Out Track: Love's Made A Fool Of You

Links:
allmusic
Wiki
website
Facebook
myspace
blogspot
fans discography
Last FM
rate your music

Haberdasher - SONGS ON LOVE nos 48602-48608

Name: Haberdasher
Album: SONGS ON LOVE nos 48602-48608
Year: 1997
Style: Math Rock, Noise Punk
Similar Bands: Oxes, Battles, Sonic Youth, Helmet (a bit)
"One-Word" Review: Calculated-Repeate-Shoegazing-Prog
Based Out Of: Baltimore, MD
Label: Reptillian Records

SONGS ON LOVE nos 48602-48608 - Cover, Record & Reptilian Records Catalogue

SONGS ON LOVE nos 48602-48608 - Back, Record & Reptilian Records Catalogue

SONGS ON LOVE nos 48602-48608 (1997)

1. 48602 5:13
2. 48603 4:43
3. 48604 5:23
4. 48605 2:53
5. 48606 4:06
6. 48607 4:42
7. 48608 9:51

Album Rating (1-10): 7.5

Members & Other Bands:
Adam Cooke - Mixing Engineer
Nate Fowler - Guitar (Oxes)
Emmanuel Nicolaidis - Drums (More Dogs, Thank You)
Michael Bouyoucas - Keys (More Dogs, Thank You)
Steve Santillian - (More Dogs)
Kirk

Unknown-ness: I’ve never heard of these guys, but the name is a perfect name, sounding like an obscure punk/indie band. The simple cover reminds me of Wire, as they have been compared to sonically as well. What is really intriguing is the decision to juxtapose something as emotional as love, with the idea to name the songs about it as concurrent numbers. The spacious grey cover gives room for the names of songs/numbers to be written like on an excel spreadsheet on the back. This record is cool, because it is labeled specially out of 300 copies. As for the content, I can only assume it is going to be some kind of mechanical or highly evolved futuristic music.

Album Review: “48602” starts off with a minimal industrial/mechanical thudding drum beat. It is not timed, and not meant to be on a specific beat until the bass comes in as a quiet hum. Together they both lay down angular and disjointed rhythm, accented by guitar tweaks here and there for 2 minutes. Then the moody space guitar notes quietly play over the groundwork. The song builds, but that actually is the song, a continuous build throughout the track until the last minute. The guitar, slightly off key, gives way to a noisey onslaught of buzzing guitar work, sliding up and down the musical scale. It ends suddenly, with an abrupt stop. “48603” begins with a quiet hum for 30 seconds, and the progressive building drum & bass beat is echoed with the repetitive guitar strumming over top. The guitar production is liquid and murky with the essence of space pop. There are vocals here, but they feel like the singer is barely in the room, and is forced to chant the nasally vocals from across the room. The song continues in a dreamy, head spinning loop, which changes tempo and instrumentation once in a while, but never the swaying rhythm never skips. “48604” begins with creepy sea-swaying guitars & bass, crashing cymbals and minimal chanted, hushed monotone vocals, which are added in bits more as an instrument’s compliment rather than a front piece on display. Danger is afoot, as the guitars crash for a few bars followed up with a Jaws inspired bass effect. It winds down, as if the threat of a tsunami washes away out to sea. “48605” quietly comes onto the sonic map, nearly absent for the first 40 seconds, with light bass. Then a marching drum beat is coupled with a repetitively strummed guitar, but the effect is not as driving as I’d expect.

“48606” finally breaches into noise and feedback guitar work, this is a very urgent and driving song, with a quicker off-beat, angular drum rhythm. It feels video game is, with its changing musical scale and rushed motivational atmosphere. It has little breaks where the buzz rests and the quiet bass fills in. But it picks right back up with the drums starting, and the guitars “talking” to each other. And the guitar onslaught kicks in. Lots of repetition is used in the ending of the song, but it a solid, solid song. “48607” is back to the dreamy, creepy production of showgazing bass over echoy eerie guitars. The elements are brought in, growing in volume, and the progressive drone commences. Yelled vocals are added, but are too high and mixed in the back for their words to have too much meaning. The tempo switched to a marching beat halfway through the song, and the vocals, occasionally used, are more monotone. The guitars come off as a series of repetitive beeps and bops. And the last song, the monstrously repetitive 9 minute epic, repetitively titled “48608” begins slowly with what sounds like the band testing their instruments. It consists of tinkling guitar, drums and bass all seemingly played separate of each other, yet all over top. Then after a minute and 15 sec, the bombastic guitars and drumming take over, and the wall of sound is created, slowly pushing the listener along for a minute, and it relapses into a ringing effect that fades with time, and a random couple of drum fills are added, and the driving sound-wall returns around 3:30. This section of the song tires out around 5 minutes, and the buzzing ring returns louder, with dismal effects randomly entered, like we’re back to the instrument testing. What sounds like a guitar-on-keybaord sample is looped in the background, behind buzz and fuzz, which now picks up the driving momentum of the song. It feels like it loses track here, but I’m sure this is what was planned, down to each note. The drums feel like they are about to pick up as all the instruments gain an intensity and urgency back to their manipulation. But the drums kinda fall to the waist side, and the alarm-like guitar buzzing becomes irritating as it does not morph into anything more. The instruments quiet down as they exit the song in an exhausted style.

Stand Out Track: 48606
Links:
Best new band Baltimore City paper 9/96
Panzan's Blog
Reptilian Records
Lord Baltimore Recording Staff
Balti City Paper - Oxes 6/00
Math & Noise Blog
Balti City Paper - Thank You 6/08
More Dogs Myspace
Oxes - Wikipedia
Discography Grunnen Rocks
T-DT-B Discog
Thank You Myspace