This feels like being let in on a big secret.
Each band has a definite personality, but instead of a random smorgasbord, the Micronotz’ tunes are the duct tape that hold the album together.
An interview with Tracy Bonham
Young American Records, Newbury Sound Studio, producer Drew Townson, and 13 Boston bands get together to bring us a wide-ranging compilation.
Lots of interesting stuff ruined by a crappy mix. Lousy packaging, too. The band is energetic and cheerful, but about five years too late.
An interview with singer/guitarist Alex Alexakis
The best songs have Ramones simplicity. The unlucky of the 13 are the indie pop ignorables. Mid-temp and so Bostonian, you know it was recorded here.
Under the Noise seems to come from the aggressive-dance background, using electronics and techno/tribal beats to support the chunky guitars.
The music on Fist City isn’t any better than okay. Tribe 8 used to actually be fun, when they were more squeaky and grrrly and not all serious.
An interview with singer/programmer Krishna Venkatesh and bassist Alex Smoller
Very good lyrics and a certain rhythmic sincerity are what shine through the somewhat humdrum format and make Timco’s brand of “sadcore” especially addictive.
A faint odor of the beach lies under the rich music. Well-crafted, with melodies that resemble an Ant-lion’s den.
New Hampshire punk rock, G.G. Allin Style. Two G.G. covers, one Troubled Youth cover, and “I Love Living in New Hampshire” based on a Fear song.
An interview singer Maria Christopher, guitarist Mike Malone, bassist Alex Kirsch, and drummer John Malone
Unlike cutsy alternarock and grrlcore, this is pop punk – pure and simple. Catchy, cute, snarly, and fast.
They crush with guitar power, sing so passionately, break down in freaky jazz stylings, and write the catchiest of rock/metal songs without ever bordering on pop crap.
Noisy punk from Huntington Beach that’s best when left simple. Sex Pistol’s sneer like a corkscrew in the head.
A dumb name doesn’t necessarily belie a bad band. Deep Six is a sharp, jagged pop album, laden with hooks and clever wordplay. A killer album.
Diabolical Scandinavian metal. Thirty minutes of super-high velocity metal with no keyboards.
Distorted, danceable, and catchy guitars, samples, and electro pop make this 10-song release worthy of more than a lick.
Utilizing the Nirvana-esque sub-pop harmonies more than all-out punk energy, their humor and mock-rock bravado make up for the mediocre production.
There should be a warning sticker: “Use caution when listening. Contents may rip you a new asshole and leave you turned inside out like a discarded sock.”
harp-dressed, flirty, polite and finger-snapping fine, the inevitable Squirrel Nut Zippers will turn you on to authentic “old school” swing.
Venomous anger articulated well on a musical canvas, with free-form time changes and switching of vocal styles.
Snog creates the digitized towers and canyons of machine domination.
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