The Hellacopters – Supershitty to the Max!

Man’s Ruin Records, 1998

Since I’m a heavy enthusiast of rock ‘n roll, I already know of the Hellacopters through their excellent “By the Grace of God” record.  However, this one I picked up actually came out some years before that record, so as it goes one never knows what, if anything, of the band you know exists from their early days.  Could they be flat out metal and the stuff I heard later is watered down?  Did they start cute and poppy like adorable Swedish musicians, only to decide to wreak havoc on the listening public due to a chemical imbalance?  Given the album title and cover image of a maniacal goblin, I figured these guys were going to try on their best Motorhead impression and tear it up.  Indeed, after ‘Play’ was pressed, there really wasn’t much time to strap myself in.

Yeeeaah!  ROOOOCK!  (pump fist pump fist pump fist)

I’m not lying, the first track of “(Gotta Get Some Action) Now!” has to rank right up there as one of the best first tracks off of the first album for a band from Sweden. Nicke Andersson’s frenzied vocals sound like the microphone is being consumed while the rest of the band produces something that might have come from an early KISS.  “24th Hell” is borderline punk with the speed in tempo and chorus, which continues just as urgently (and as shortly) with “Fire Fire Fire”.  Talk about making an instant impression on the debut record!

The rest of the record unfortunately wears of some of the excitement of the first few tracks, mainly because they all sound the same.  Every song has Andersson absolutely in your face with blast of volume out of his mouth, only to severely muffle the microphone and thus get drowned out by the band.  There is no break throughout the album (nor should there be on a ROCK ‘n ROLL record, maaaan) unless you count the slightly slower “Tab”, so after awhile one could start to feel that songs start to blend together.  “How Could I Care” has a great chugging guitar riff that pounds throughout the tune, but since it came not too longer after “Bore Me” and right before the thrash punk tune of “Didn’t Stop Us”, it gets a little lost in getting itself noticed.  They might as well have thrown “Random Riot” in with “Didn’t Stop Us” given its pace and muddled vocals, though the chorus sounds a lot cooler in my opinion.

Beginning with “Didn’t Stop Us”, the last six tracks finish rather quickly.  It likely has to do with the aforementioned pace, though “Spock In My Rocket” is the exception to the acceleration.  It still burns fire with heavy guitar and the clashing of the drums over the choruses (which, by the way, was featured in the twelve previous songs as well).  However, it lasts for six minutes!  It’s armageddon in a song.  Then, of course, as a band from the late nineties the Hellacopters opt for the signature ‘hidden song’.  Unfortunately, it turns out to be an even more muffled live track that just comes across as a bunch of noise in the end.  Oh well.

The Hellacopters’ website could use a real update, but at least they’ve still got a good assortment of music up on MySpace.

It’s a tough call for this one for me.  I really liked the music and would love to hear a few tracks from these guys from time to time when I need an instant boost of power.  However, thirteen tracks that generally sound the same and come across as rushed might be a little overdone.  I still think the Hellacopters are a great band and that people should definitely go check out any release from them.  Since “By the Grace of God” sounds a lot more varied and contains much more clarity, while still delivering true on its fantastic rock anthems, I recommend starting there rather than the very start with this debut.

Red Aunts – #1 Chicken

Epitaph Records, 1995

Ahh, nothing like picking up a record and seeing that one of the members on the cover is giving you the ‘Loser’ sign.  Does the music store owner see a patron shudder whenever he or she picks up this record?  Psychological effects aside, the scratched out band and album name, as well as the bleached blonde smokin’ with shades in the passenger seat, gives off the air of something edgy.  The fact that it’s an Epitaph Records release seals it, as this was going to be some kind of punk or hard rock.  I was definitely intrigued with the thought of hearing what “Rollerderby Queen” sounded like, never mind that plushy song title of “Satan” (hmm).  And hey, I had to review this album or that girl was going to drive by and flash me the ‘Loser’ sign again.  NOBODY ‘Loser’ signs ME and gets away with it, MAAAANNN!

As a California grrl punk band in a decade of grrls, the Red Aunts are abrasive, raw and a little rude.  However, they know that in two minutes or under they can make your adrenaline rush.  “Freakathon” has no slow introduction and immediately begins its jilted assault of heavy riffs and Terri Wahl’s screamy vocals.  No sooner has it gotten started than “Tin Foil Fish Bowl” and “Hate” barrel in with similar quick tempo.  Along with Kerry Davis, Wahl sings in various tones depending on the situation.  Both ladies often sing/scream high pitched, but on songs like “Detroit Valentine” they sometimes opt to sing at a lower, sultry level.  This at least gives the impression of variety and skirts the worrisome ‘monotonous’ label.

The Red Aunts rarely ever take a breath on the record.  “Krush”, after a slow guitar intro (aka breath), the song turns into an exciting noise and scream fest.  “Rollerderby Queen” consists of some clever tempo changes, as the beginning has Wahl wailing while the backup girls sort of sneer.  Then the song quickly changes into a slower swing, before accelerating all the way to the end.  “When Sugar Turns to Shit” is another great punk tune that actually has some slide guitar and harmonica in it, though damned if I know what the heck Wahl is squealing throughout.

Cowbell actually shows up in “Poker Party”, but unfortunately that’s about the last of the interesting items of the record.  The rest of the songs until the end of the record don’t have any unique “Freakathon” or “Krush” moments, so though the band does power through a solid instrumental of “Mota”, it is apparent that their best songs are contained earlier on.  For a record that easily finishes under thirty minutes, it is doubtful that many will notice or care that the band had to squeeze out a few so-so tracks to make it past twenty minutes.  They’re listening for the rush of it all.

Though you can listen to them on MySpace, I prefer this amusing video of the ladies on skates in “Rollerderby Queen”:

I like the Red Aunts for what they stand for and how they delivered it.  With so many grrl bands of the day, the Red Aunts not only sounded rough for four women but also managed to construct a few catchy tunes as well.  I found that a lot of grrl stuff tended to be one-and-done to listen to, as they were understandably heavy on the message but less so on the return value for the casual fan.  I thought this record succeeded in its spinability.

The Red Aunts put out a few more records after this one before disbanding in 1998.  The popularity of the grrl movement was about done at that time, but I would like to think that the band motivated a few other girls in the California area to start up their own rock bands.  Though one doesn’t hear this kind of sound these days, I recommend giving a listen to this record if you want to hear something that positively represents the grrl era.

Various Artists – Cheese Borger’s Pie and Ears Volume 2

Smog Veil Records, 2002

With one of the more revolting covers I’ve seen in awhile, there is no chance I would pass on picking up a compilation of Cleveland punk rock.  I, ah, recognize the name of Cheese Borger from a previous review regarding his cadre of Pink Holes, so for twenty-three tracks for much less than twenty-three dollars this was a surefire grab.  To think there was a previous volume of Cleveland punk released is hard to believe, but I guess when the Browns and Indians aren’t doing much of anything people are driven to high volumes.  Better than reading I say!

So what does one expect from a punk compilation that is nearly a decade old?  Well actually, this compilation was put together in 2002 but consists of mostly punk tunes from back in the eighties.   Therefore, consider this collection as a group of musicians who were recently influenced by the big punk movement from the seventies.  Given that the state of music today mostly consists of interchangeable dance pop tunes and irony-maxed indie rock, a compilation with some raw, lightly produced garage rock from back in the day can actually be refreshing.  Who knows, one may even find a highly unheralded band to dig into more deeply.

After a few muddled compositions by Kneecappers and Disciples of Death (band name props), things really get revved up with Idiot Humans’ “Toppling Stairs”.  The main riff thoroughly reminds me of the Wipers’ “D.7″ with its foreboding sense of doom, yet the song doesn’t bother with any of the slow stuff and consists of pure acceleration.  The cover of the Pagans’ “Eyes of Satan” by Styrenes doesn’t have much for lyrics aside from the title track.  Is it punk to essentially skip verses?  Still a fun blitz of a tune, though.

Those songs aside, apart from a few stand outs there are many tracks that sound like what one might expect from a local punk band compilation.  There’s a lot of low production, speed, inattention to lyrical clarity, short song lengths, and guitars, guitars, guitars.  Many songs tend to blend together for the most part, but there are a few nice exceptions.  New Salem Witch Hunters’ “Plain to See” sounds like a great bar room pop song with its sixties style and fine keyboard inclusion.  The Clocks sound very fresh with their garage rock  during their detailing of a literal “Family Feud” while the Pink Holes throw in a solid, fuzzy surf track.  I can’t get enough of the surf stuff.

Since a bunch of these guys were out before MySpace came along, perhaps you will find something interesting to buy or listen to at Smog Veil Records’ website.

Overall, it’s an enjoyable compilation of punk tracks of varying quality.  I didn’t find any that were just too awful to sit through a few minutes with, which either reflects the time period’s style or the general talent of the musicians.  Or perhaps I was too busy stroking my leather jacket to notice, who knows.  Truth is, compilations are hard to utterly pan given that there always tends to be enough variety to make anyone appreciate the disc in spurts.  All I know is that if I ever find myself in Cleveland I’ll be seeking out this Cheese Borger guy to tell me which shows to catch.

Cheap Time – Self-titled

In the Red Records, 2008

These guys look like they had some time off from their runway jobs and thought to start a boy band.  The one in the middle seems to have forgotten to turn off the eternally bored look that models tend to sport.  With the visuals screaming at me to beware the second coming of 98 Degrees, I caught the indicator of grand possibilities in the top right corner.  Looking at the 80s-themed logo with a resemblance of neon pink coloring, I thought there was a slight chance that Cheap Time was a either an 80s punk revivalist band or even the re-issued real thing.  Since listening to them would literally be a cheap time, I figured they were worth a grab.

Not long into their debut record, it is apparent that Cheap Time aren’t in the market for long players or deep lyrical conversations with their listeners.  The trio actually zip through most of their songs under two minutes with lo-fi production and catchy punk riffs.  They’re also not the angry type of punk, (the album cover kind of kills that idea anyway) but I can imagine they can light up a stage with the requisite noise and energy level.

The evidence that this hypothesis may be true can quickly be found in their music.   Though the opener of “Too Late” sounds a bit disjointed, the record really powers on when the chorus of “Glitter and Gold” crashes through some descending riffs.  The high speed chorus of “People Talk” definitely reminds me of U2′s “I Will Follow”, but it is a killer track.  It probably has to do with the repeated aspect of the title over a piercing, high guitar note that accompanies it.  Amidst all of the great adrenaline-inducing tracks on this record, “People Talk” stands out the most.

Since most songs are quick, it is rare for Cheap Time to let one get tired of any particular direction they’ve followed.  The one instance where they gamble with longevity is in “Trip to School”, which clocks in at just over three long minutes.  As the last track of the record, it begins quietly enough with slow guitar build that could go either way.  You know how it is; bands tend to make the last track of their record something personal, slow, and usually boring.  Just as one is about to give up on half of a song of build up, Cheap Time eradicates the notion of a cool off with another fantastically catchy pop punker.  That was the right way to go out on a record that just slips under thirty minutes with fourteen tracks.

Cheap Time do have a MySpace page, but the good man at Power Pop Overdose gives you a chance to check out this whole record for yourself!  You should think about doing this.

I think that Cheap Time’s debut record really appeals to me because they have quite a few similarities to a few of my favorite bands, such as the Exploding Hearts and the Marked Men.  I’m personally just thrilled that these guys are even still around!  Now with two records in the books, perhaps Cheap Time will be able to cull together a full hour live show if they end up touring away from their native Tennessee.  Either way, the exciting punch of their music deserves a Golden Dollar from me all the way.