Rewind Reviews – Page 19 – 7th Level Music

Rewind Review: Early Indiana Punk and New Wave: The Crazy Al’s Year(s) 1976-1983 (2014)

I’m a Gen X’er, which means I grew up in the 1980’s, and I was among the first and last true punk rockers at East Noble High School. I was in a garage band (Stranger Yet) and spent my Sunday nights at a punk rock club (after which this blog is named) in a dive bar attached to a seedy hotel on the east edge of Fort Wayne, Indiana. So, the Early Indiana Punk and New Wave: The Crazy Al’s Year(s) compilation is right up my alley.

It’s a stunning collection of rare singles and live cuts from bands that mostly played in the Bloomington, Indiana area (the location of the short-lived club Crazy Al’s). Where Time Change Records found some of these cuts is beyond me, but I’m guessing they had a lot of friends involved in the punk and new wave scenes back then who contributed some of the recordings. I’m also guessing Time Change Records employs some of the best crate diggers of all time.

The two-disc set has many standouts. The Jetsons’ “Genetically Stupid” sums up how many people felt about us punk freaks back then, and Dow Jones and the Industrials’ “Can’t Stand the Midwest” sums up how us punk freaks felt about everyone else back then. Your Grocer’s Freezer’s “We’re All Gonna Die” is a perfect example of the nihilism that was always on the edge of the scene, especially when we all thought nuclear war was coming any second.

Want pure punk? Repellents have two solid punk cuts on the collection – “Technorama” and “AFC!” – and the Slammies’ “P-U-S” is another good choice. Cheeses from France’s “Heart of Gold” is wonderfully weird and almost a krautrock track. The Gizmos proudly display their love of the New York Dolls on “Mean Screen” and “Mommy’s in the Kitchen.” Joint Chiefs’ “I Hate Pretty Girls” is an anthem for awkward guys who were spurned or insulted by the cute girls in school.

It wouldn’t be an Indiana punk collection without the Zero Boys, and they have two fine tracks here – “Commies” and “I’m Absent.” We’re Jimmy Hoffa were a punk band that loved John Carpenter movie soundtracks, and their song “Rock ‘n Roll” is something you’d expect to hear at a club in Carpenter’s future NYC as Snake Plissken cracks heads on the dance floor.

I can’t help but think that the parents of the lead singer of the Panics were laughing as he sang “I Wanna Kill My Mom,” because the song is pure snotty punk hilarity. Dancing Cigarettes’ “Pop Doormat” sounds like the Kinks if the Kinks decided to become a new wave band. Last Four (5) Digits bring in a goth touch on “Don’t Move” that is somewhere between Bauhaus and early Wall of Voodoo. Cast of Thousands brings an angry Brit-punk sound on “War Maker.”

Amoebas in Chaos bring back the fun with “Have You Slugged Your Kid Today?” and “Ronald Reggae” (which is live punk chaos with saxophone and plenty of guitar feedback). E-in Brino’s “Watch Alarm” is fine post-punk with heavy synths and and near-frantic vocals. Vibrato Fetish rounds out disc 1 with the rocking “Surf Bandits.”

Yes, all that’s just on the first disc.

There are plenty of prime cuts on disc two. The New Avengers’ “Mary’s in a Coma” is a lost 1980’s track you swear you’ve heard before and is even better than you remember it. The Positions’ “Follower of the Space Race” is great new wave, sounding like a mix of Devo and the B-52’s. Your Parents’ “Whiplash” is heavy post-punk, and “No Substitutions” shows their Ramones influence. The Race Records’ “Baby Take Me Back” brings rockabilly into the mix.

Lip Service’s cover of “Money (That’s What I Want)” is full of skronky guitar and peppy organ, and MX-80 Sound’s cover of “Paint It Black” is a slick instrumental. The Obvious’ “Feelings of Love” sounds like an early Blondie track. Hugo Smooth’s “Won’t Play Bumpum Cars” is so new wave that it wanders into a jazz lounge hosted by Frank Zappa. Club Pressure’s “Slinkin’” is fine punk-reggae, and the Shouts’ cover of “Gloria” (which seems to have always secretly been a punk song) is outstanding.

It’s an essential mix of Midwest punk and new wave acts, and God bless Time Change Records for putting it out there for us old schoolers and new fans alike.

Keep your mind open.

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Rewind Review: Bully – Feels Like (2015)

In case you missed it, Nashville’s Bully were the breakout hit of the first Middle Waves Festival. Bully (Alicia Bognanno – vocals and guitar, Stewart Copeland – drums [not the guy from The Police], Reece Lazarus – bass, Clayton Parker – guitar) flattened the Maumee Stage there, which shouldn’t have surprised me since their 2015 album Feels Like is so hard-hitting.

Starting with the sizzling “I Remember,” the band comes out with fury Oliver Ackermann of A Place to Bury Strangers would envy and vocals Jennifer Finch of L7 would love. If you can imagine Joy Division being a power pop band instead of goth overlords, you might be able to imagine how they could’ve made a song like “Reason.” Parker’s guitar work on it is superb.

“Too Tough” evokes the good kind of 90’s alt-rock. The kind that made good hooks and mixed them with heavy riffs and discernable vocals instead of the just screaming about how much he hates his father. Lazarus’ bass line holds the song together. I think he’s the band’s secret weapon. “Brainfreeze” follows this trend and is one of the catchiest songs on the record. “Trying” bounces back and forth between cool catchy verses and growling, shouting choruses like a forgotten Pixies song.

Lazarus’ thick bass is front and center on “Trash,” and Bognanno’s vocals are both heartfelt and even a bit frightening. I love the way the band seems to collapse into madness during the chorus, yet holds it together with expertise. Copeland’s cymbal fills are like alarm bells going off while Parker and Lazarus’ instruments run around in near-panic.

“Six” seems to be a love song sung to someone who’s depressed over the way they’re perceived by others. “Fuck those jerks,” Bognanno sings. “They don’t know you like I do.” “Picture” has great fuzz from everyone, even Bognanno’s vocals and Copeland’s drums seem to be filtered through half-broken amplifiers.

“Milkman” was Bully’s first single (released in 2014), and I still don’t know why it didn’t race across the nation like wildfire (Screw you, corporate radio!). It’s a sharp debut that captures the band’s live energy (and tight instrumentation) well. “Bully” is another wicked cut that has some of my favorite guitar work on the record. It goes from angry fuzz to pop-punk and dips its toes into the psychedelic reverb pool now and then.

“Sharktooth” is a kiss-off to an ex that brings Copeland’s drums to the front almost like a Who record and then the rest of the band builds a wall of sound like a line of War Boys cars from Mad Max: Fury Road.

It’s a fine record, and one that was being blasted in a Ft. Wayne record store the day after their Middle Waves performance. People were buzzing about them the entire second day of the festival, myself included. They and this album do what any good band or album should, make us hungry for more.

Keep your mind open.

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Rewind Review: Gravel Drag – Sly Fox (2014)

I love a good instrumental, and Gravel Drag‘s (Chris Bowyer – bass, Ben McKinney – drums, Steve McKinney – guitar) Sly Fox EP has four of them. All are tight stoner rock tracks that each clock in under four minutes. Gravel Drag doesn’t have time for spacing out for long stretches. They’re too busy making hard-hitting swamp metal.

“War Beast” sounds like Helmet and Sleep met in a dark alley and got into a fight. Ben McKinney’s drums remind me of classic Helmet fills and Steve McKinney and Chris Bowyer supply the heavy Sleep-like riffs.

“The Legend of Sly Fox” is peppier than “War Beast,” but it’s no less heavy. I love how crisp Ben McKinney’s snare is in this. “KnockoutKing” is a knockout. Loud, squelching guitar, one-two punch combo bass, and mosh pit drums all equal a great tune.

The closer is “Radio Curse,” and I wonder if the title refers to the lack of radio play for instrumental riff rock like this. Bowyer channels his inner Peter Hook with his bass at first and then drops stuff heavier than Hook ever did in Joy Division.

It’s a shame this is only a four-song EP because it’s heavy enough to be a full album. An LP from these guys would probably have the mass of a dwarf star.

Keep your mind open.

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Rewind Review: Baby Jesus – self-titled (2014)

Hailing from Sweden and claiming to have formed after “an intense trip to India,” Baby Jesus’ self-titled album is a wild mix of psych, garage, and surf.

“Nothing’s for Me” opens the record with a swirl of cymbals and blaring guitar before the horror movie organ kicks everything into high gear. The vocals are frantic, almost “Wooly Bully” ramblings. That means they’re a blast, by the way. “Trembling Away” continues the madness and the organ blares through everything, which is a feat considering how damn loud and bonkers the song is. “Havn’t Seen the Light” is, despite the typo in the title, sharp as a tack. The guitar is like a buzzsaw, the drums are punk, the bass is a jackhammer, and the organ is an alarm klaxon.

“Don’t Want You” could be a Stooges song if the Stooges had a keyboardist as crazy as Baby Jesus. Imagine Animal from The Muppets on a Hammond B-3 instead of a drum kit and you’ll get the idea. “Nice Walk” is a surf instrumental. Yes, after four songs of psychedelic madness, Baby Jesus drops a surf number on you that sounds like they reached through a wormhole in space-time and grabbed it from a record store in 1965.

“Cry, Cry, Cry” isn’t a cover of the Johnny Cash song (although that would be great), but it is a wild breakup song with enough cymbal crashes for an entire record. The title of “Deep Blue Delay” might refer to the delay effects pedals used on the guitars in the song, but it’s probably about something trippy that happened to the band in India. Regardless, the guitar work on it is crazy with plenty of distortion and reverb. I wouldn’t be surprised if there’s a Theremin mixed with it. “You Make Me Fry” is another lambasting of a bad relationship, and “Vansinne” is a swanky psychedelic lounge tune with fantastic saxophone work.

“Time’s All Gone” is a fitting title for the last song on any record, and Baby Jesus makes the most of their last track by, believe it or not, scaling back the cacophony. It’s the mellowest track on the album, with echoing vocals, groovy synths, and that surf sound they do so well.

I hope these guys are working on some new material, because this full-length debut is a good omen of what’s in store for them and us. I hope they tour with Goat. That would be a mind-melting double bill.

Keep your mind open.

Rewind Review: Nine Inch Nails – March of the Pigs (1994)

This five-song EP / single (depending on how you think of it, I guess) from Nine Inch Nails contains the Downward Spiral album cut of the title track, which is one of Trent Reznor’s best cuts in terms of showcasing how he can go from industrial madness to quiet goth and back again in the blink of an eye.

“Reptilian” (a remix of “Reptile” by Dave Ogilvie) might refer to the deep part of our brains, or perhaps the way the song crawls around the room like a komodo dragon with its hisses, clanks, and snarls from Reznor’s guitars and synths. “All the Pigs, All Lined Up” is a remix of “March of the Pigs” that swirls techno, drum and bass, and industrial chaos around you with Reznor belting out the lyrics as sampled screaming masses cheer behind him.

“A Violent Fluid” is a quick (barely over a minute) instrumental that’s more or less an introduction to the longer instrumental of “Underneath the Skin,” which has similar themes to other NIN songs, including the gothic synthesizers, drums that sound like garbage cans, and creepy bass.

It’s a dark, brooding EP, but that shouldn’t surprise you considering the state of mind (drugged and otherwise) Reznor was in at the time it was made. The Downward Spiral is one of the best albums of the 1990’s, and this EP is a visceral slice of it.

Keep your mind open.

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Rewind Review: L7 – Smell the Magic (1991)

I’m a big fan of L7, so you’d think I’d already owned their second album, Smell the Magic, for years. It turns out I didn’t, but I thought I did because I own so many of the songs on it in other forms. It’s an early 1990’s classic, and needs to be in your collection if you’re any fan of any kind of rock.

Opener “Shove” (which I already owned on the Tank Girl soundtrack) is a fist-pumping anthem as Suzi Gardner (guitar, vocals) rants about bill collectors, the mailman, the neighbors, smog, and the political landscape of 1991. Dee Plakas’ (drums) beginning to “Fast and Frightening” (which I have on at least one other recording somewhere) are like a Gatling gun and Donita Sparks’ (guitar, vocals) vocals are as rabid as the song’s title. It also has one of the most punk rock lyrics of all time, “Got so much clit she don’t need no balls.” Play this if you ever need to start a mosh pit.

“(Right on) Thru” has some of the best guitar work from Gardner and Sparks, and I love how Plakas’ drums keep you guessing if the song’s going to take off or stop short. “Deathwish” (which I had as a live cut on another record) is a personal favorite. Jennifer Finch (bass, vocals) puts down one of her heaviest riffs that drives the song like a Sherman tank across a battlefield. The song isn’t particularly fast, but it grinds along with unrelenting power.

“’Till the Wheels Fall Off” is appropriately titled, because it tears through at breakneck speed. “Broomstick” is a Blondie tune if Blondie decided to be a punk band instead of a post-punk band. “Packin’ a Rod” is more angry punk. Hell, the first line is “All fucked up and I’m mad as hell, violate your daughter and your son as well.” Sparks is carrying a gun just for you, so you might want to steer clear of her. I love the crunchy, yet shredding guitar solo on “Just Like Me.”

The record closes with “American Society,” a cover of the song by the great underground band Eddie and the Subtitles that’s all about being sick of television, the rat race, the homogenization of radio airwaves, and the lure of materialism and quick riches. It was a perfect song to start the 1990’s, because everyone was sick of this stuff…and we still are.

Smell the Magic still shreds and is still relevant. Give it a whiff.

Keep your mind open.

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Rewind Review: Royal Blood – self-titled (2014)

File this one under: Bands I Like Who Slipped Through the Cracks. I’d heard a few tracks from Royal Blood’s self-titled debut album two years ago on the Out of the Black EP, but kept forgetting to buy the full record. I finally found it at a Target two months ago.

It’s one of the best rock records to come along in recent memory. Royal Blood is Mike Kerr on bass and vocals and Ben Thatcher on drums. That’s right, no guitar. They bring new meaning to the term “drum and bass,” because that’s all there is (apart from vocals). It’s all bass – wonderful, cranked-up, fuzzed-out, wall-flattening bass – and drums – excellent armies of Mordor-marching, Jason Bonham-honoring, avalanche-producing drums.

“Out of the Black” was their first big hit, and rightly so, as they belt out a rocker about an angry break-up. It’s a common theme on the record. The lads are angry, lonely, and frisky, but there isn’t a damn thing they can do about it except pour it all out on this record. The follow-up to the “I’m so pissed I could kill you” anthem of “Out of the Black” is “Come On Over,” in which Kerr has dropped belief in God (“I went to church and stopped believing.”) and thus the religious dogma that held him back from engaging in naughty sinful behavior. We go from bad break-up to sinful sex in the span of two songs.

“Figure It Out” has a wicked drum groove that barely touches on pop-punk as Kerr struggles to determine why his girl won’t talk about what went wrong in their relationship (“I said I’d go, ‘cause I won’t see you later and we’re not allowed to figure it out.”). It makes sense that the next song is “You Can Be So Cruel,” which has Kerr standing outside his lady’s door thinking of her (in his stalker-like eyes) loneliness and his depression.

His lady’s continued distance from him leads to more anger on “Blood Hands.” “I’ll curse the ground where you kneel till I grow my hair to my heels. Spike your water, your wine while you waste my precious time.” Kerr’s bass work on it sounds like he’s playing two guitars at once.

Kerr tries to move on to another romantic conquest on “Little Monster,” but still borders on creepy as he sings, “I’m gonna love you no matter what you say.” and “I say run little monster before you know who I am.” The song was another big hit for them, and it couldn’t miss. Thatcher’s drums are like something from a Mad Max movie and Kerr’s bass work on it is pure stoner metal.

The subject of “Little Monster” must have taken Kerr’s advice of running away, because Kerr sings about “Shouting through your letter hole like there’s nobody home.” and referring to her as an “ice queen licking on a guillotine” in “Loose Change,” which has Thatcher putting down a groove so nasty it should be twiddling its moustache.

Kerr admits he’s screwed up everything on “Careless.” “I wish I could care less, but I’m afraid I don’t. You couldn’t care less, so I guess you won’t change your mind again.” In “Ten Tonne Skeleton,” he knows his ex-girlfriend has moved on, and now he regrets the way he screwed up his chance.

The final cut is “Better Strangers,” and Kerr realizes he has to get far away from this woman before he gets flattened again (“I’m a thousand miles from danger if I make a better stranger of you.”). He repeats the word “hollow” to echo the empty feeling in his gut, but he fills it with scorching bass work.

This easily would’ve been in my top 5 records of 2014 if I’d kept track of such things then. Royal Blood were in the process of writing a new album when they toured with Foo Fighters in 2015. I hope they release it soon.

Keep your mind open.

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Rewind Review: M.I.A. – Matangi (2013)

[Rewind Reviews are reviews of albums at least a year old by the time I hear them.]

For the record, I think M.I.A. is a genius. She always seems to get the best beats and hasn’t given a damn about what’s popular, what people think of her, or even the Super Bowl for years. Her 2014 album Matangi is another great example of her doing her own thing with a mastery of world beats, sharp wit, and killer mic flow.

“Karmageddon” laces Bollywood beats and reverb throughout it. It’s seductive, synth-heavy, and even a bit scary. “My words are my armor and you’re about to meet your karma,” she sings. It’s a quick introduction / warning before the title track throws us into a deep Indian jungle, both in terms of jungle techno beats and tropical jungle heat. Only M.I.A. can pull off the chants she rhymes around in the song. Her chants are like battle cries mixed with meditative mantras.

“Only 1 U” starts with temple bells and then unleashes some of the wickedest beats on the record. M.I.A.’s voice is echoed, distorted, and fuzzed but it remains clear enough for you to hear her message of empowerment. I also love the inclusion of a boxing ring bell to signal each verse. She’s come to fight, so it’s appropriate the next track is “Warriors.” It starts with an “ohm” chant and then M.I.A. is dropping rhymes like she’s unleashing a tricky boxing combination. “Gangsters, bangers, we’re puttin’ ‘em in a trance,” she says. I’m sure she is, because her rhymes and beats are dumbfounding.

“Come Walk with Me” is a fun love song with beats better for dancing than walking, so walk to the club with your lover when you play it. “Atention” is a play on words, riffing on “attention” and “a tension.” M.I.A.’s voice is a bit robotic, almost like she’s a computer program singing to us atop wicked drum machine beats and turntable scratches.

She teams up with The Weekend for the first time on “Exodus.” He does most of the rat-a-tat electric beats, I’m guessing, because M.I.A. sings all the lead vocals (and quite well). “Live fast, die young, bad girls do it well,” she sings on “Bad Girls,” a song title she is eminently qualified to claim. It has a neat Middle Eastern flavor underneath the sick hand percussion beats.

“Boom Skit” is far too short. M.I.A.’s rapping and the beats on it are so good they’re almost frightening. “Double Bubble Trouble” isn’t really about gum, but it’s just as sweet. “You’re in trouble. I step up in the game and I burst that bubble.” The alarm claxons taking the place of a horn section are brilliant. This deserves to be cranked from every taxi in New Delhi.

“Y.A.L.A.” has bass that Missy Elliott will probably gank for her next record. “If you only live once, why do we keep doing the same shit?” M.I.A. asks. It’s a play on “Y.O.L.O.” and I’m guessing it stands for “You All Live Again” since she sings, “Back home where I come from we keep being born again and again and again. That’s why they invented karma.”

“Bring the Noize” isn’t a cover of the Public Enemy classic, but it’s just as good in its own right. The hyper beats seem to include a creaking door, sampled R&B croons, and a haunted horn section. “Lights” has M.I.A.’s vocals subdued and echoing in the background as the synth beats take lead. “Know It Ain’t Right” is bouncy, while “Sexodus” (her second pairing with The Weekend on Matangi) is sensual. Go figure with that title, really. M.I.A. is at her sexiest on the track, singing about getting in the sheets and staying busy until dawn.

The digital download version of Matangi comes with the bonus track of “Like This,” which is well worth the download. M.I.A. purrs like a tiger at one point, nearly making you slide off your chair. If that doesn’t do it, then the phat bass and her supremely confident rhyming will.

M.I.A. can do no wrong, really. Her beats are always big, her rhymes are always deadly, her lyrics are always powerful, and her power grows with each record.

Keep your mind open.

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Rewind Review: Bebel Gilberto – Tudo (2014)

I don’t know how I missed that the lovely Bebel Gilberto released Tudo in 2014, but I’m glad seeing her live reminded me to pick up this record. It’s another beautiful mix of bossa nova, electro, and lounge music that only she seems to be able to create.

The opening track, “Somewhere Else,” is sung in English and Portugese and lures the listener into taking their dream vacation, be it for real or even in the vastness of one’s mind. It even includes birdsong in the background, which I assume happened because someone left the window of the recording studio open and birds naturally land and sing whenever Ms. Gilberto even hums a tune.

“Nada Nao” (“Nothing”) is just Gilberto’s voice, an acoustic guitar, and hand percussion. It’s a fun, toe-tapping track. “Tom de Voz” (“Tone of Voice”) is a short and sweet song highlighting (What else?) Gilberto’s lovely voice.

“Novas Ideias” (“New Ideas”) has Gilberto singing alongside her frequent co-writer Seu Jorge. It will instantly make you happy, as it’s a fun samba-influenced cut that you need to play on your next date or slip to the DJ at the next wedding reception you attend. Her cover of Neil Young’s “Harvest Moon” is outstanding and brings a whole new feel to the ballad.

The title track (which means “All”) has some of Gilberto’s best vocals, as she dances around tricky words like a ballerina spinning across stage. I love the simple organ and synths on it, too, as they float behind her vocals with the hand percussion setting the beat. “Saudade Vem Correndo” (“Longing Comes Running”) is one of her many songs that will instantly make you happy. The flute backing her up on it is a great touch. “Areia” (“Sand”) begins with chimes that remind you of sand falling through an hourglass. The guitar work on it is a hypnotic low rhythm with a slight Flamenco feel. It’s even a bit dark until Ms. Gilberto glides in to rescue us and make us think of strolling on a Brazilian beach and enjoying an ice cream cone with a lover.

Or maybe the beach is in France, considering the next song has a French title – “Tout Es Bleu” (“All Are Blue”). It’s a great electro-jazz track that has probably been remixed by DJs across the world by now. It deserves to be played at your next late night party. You can’t be blue during it, so thanks to Ms. Gilberto for giving us a cure to our doldrums.

“Lonely in My Heart” has Gilberto’s vocals slightly reverbed as some acid lounge electric beats shuffle behind her and trippy synths creep in now and then. They might be evoking the ghosts of a relationship Gilberto sings about in the track. They bring a cool energy to the song even if they don’t.

When it comes to Ms. Gilberto and I, “Vivo Sonhando” (“I Live Dreaming”). I live dreaming of her singing to me in a dim club as we sit at a small table and enjoy fresh juice and a jazz band. This song pretty much describes a scenario like that and I’d probably melt right there in my chair if that ever happened. It’s a gorgeous track that, like any good dream, is over too soon.

“Inspiracao” (“Inspiration”) is a cool electro song. I love how she can jump into electro and lounge music without any trouble. “It’s All Over Now” is a heartbreaking song about a breakup and how Gilberto wishes the best for her lover and hopes they cherish the good times they had. It’s a sublime ending to a lovely record.

You need to hear Bebel Gilberto if you haven’t before. Her songs can change the mood of any place, person, or function for the better.

Keep your mind open.

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Rewind Review: Screaming Females – Live at the Hideout (2014)

Recorded at Chicago’s Hideout January 30-31, 2014, Live at the Hideout is essential for any fan of Screaming Females, rock, or quality live recordings. Steve Albini did a great job capturing the fury and power of a live Screaming Females show, and the band (“King” Mike Abbate – bass, Jarrett Dougherty – drums, Marissa Paternoster – guitar and vocals) played not only for the lucky Hideout crowd, but also apparently for everyone on the international space station to hear.

“Leave It All Up to Me” gets the album off to a fine start, showcasing Paternoster’s now-trademark shredding. “Foul Mouth” temporarily downshifts the show, with Abbate’s bass groove planting deep roots before he and his band mates take off like a nitro-burning funny car from the starting line. The band takes that nitro and uses it to almost burn the Hideout stage to the ground on “Buried in the Nude” – which is a blistering punk rock screamfest.

“Extinction” keeps the punk pumping, with Paternoster’s vocals evoking Poly Styrene. “A New Kid” has one of her best solos on the record. It moves back and forth between metal, psychedelia, grunge, and even a bit of shoegaze. “Lights Out” is one of the best metal tunes you’ve heard in a long while, and Paternoster’s solo might make you hang up your guitar.

“Sheep,” a gut punch of a song about a cheating lover, hits even harder live. “It All Means Nothing” is one of their biggest hits, and one of their best live tracks. Paternoster sizzles throughout it and Dougherty’s pulsing beat is a great foundation. His wicked beats continue on “Starve the Beat,” which has some of Paternoster’s most masterful guitar work and Dougherty and Abbate’s best clicking rhythms.

“Little Anne” is a strangely hypnotic short song that’s almost an introduction to “Pretty Okay,” which brings out Buzzcocks-like frenetic energy from the whole band. “Baby Jesus” reminds me of a spinning dynamo. It’s fiery energy that seems barely contained and could overwhelm you at any moment. Paternoster’s solo rises into psychedelic realms halfway through it and then tears into something you’d hear in a crazy anime film about starship pilots fighting Cthulu on the edge of a black hole.

The album ends with “Boyfriend,” in which the band not only topples over the edge from metal into punk rock madness, but also pulls the whole Hideout audience and anyone listening to this record with them. Paternoster screams to the rafters, Dougherty thumps on his kit harder than Chuck Norris beating up thugs in Good Guys Wear Black, and Abbate pounds on his bass with a drumstick at one point. I don’t know what will convince you that this band is a force of nature if this song doesn’t.

It’s a great live record, not only for the song selection but also for catching the power of a Screaming Females performance. If you can’t see them live, at least pick up this record. It will only make you want to see them live more or see them live again again, but that’s a good thing.

Keep your mind open.

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