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Sliver Records News...
Punks And Pints (Vol 3) REVIEW on AbsolutePunk...
POSTED 8/20/08 on http://www.absolutepunk.net/showthread.php?t=464581
Way back in prehistoric times before there was MySpace, people discovered their underground punk groups through mixtapes and nifty compilations such as the Punks and Pints series I’ve just recently stumbled upon. Since I didn’t even really know Seattle had a modern punk scene (but I knew they had rain, Courtney Love, and other ugly things), the album definitely succeeded in its mission, as I’ve already begun looking up a handful of these groups.
Volume 3 is 30 tracks long, and of those tracks about half of them are genuinely entertaining. The rest are direct ripoffs of popular punk tunes (such as Sister Hyde’s “Corporate Guru” which sounds exactly – I mean exactly – like “No Control” by Bad Religion) or clumsy takes on other genres (like Black Top Demons’ “The Haunted House”, which sounds like it really really wants to be a Billy Idol tune, but can’t.) Still, even these generic tunes pack the energy of some sloppy live set in some sloppy dive with some sloppy people you just met, and so all of it is part of the experience. You’ll never really need to hit the skip button.
Highlights include The Dead Vampires’ “Being Dead Never Felt So Good”, which strikes a weird balance between the Black Lips and the Misfits – in fact, this singer sounds like he is Glenn Danzig, and the band title and lyrics obviously back up that assumption as well. The Femurs’ “Crazy Girl” is crazy catchy, too; plus, they use the word “retarded” which should earn some kind of taboo points.
None of this stuff is going to change your life, but the comp definitely seems like a good advertisement for these groups’ live shows. Every tune on here sounds like it would light up an audience with fist pumping and lyric reciting ferocity. If you’d already seen any of these bands live, then the disc would be a little bit more entertaining, because these are all groups who probably pull off live better than studio.
Really, in a field as limited as DIY punk, you’re going to find similarities in things. That’s just all there is to it. Nobody ever listened to a Bob Marley compilation and complained about the same three chords repeating for an hour, and nobody ever criticized any blues legend for writing the same song in the same key for the entire duration of their career, and similarly nobody ought to pick on punk for its sometimes stagnant development. Because like those other genres, it’s the aesthetic, the feel, and the energy that make the hit or miss, and this is a comp that’ll keep you dancing for at least a little while. 8/20/2008
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5/14/2008
PUNKS AND PINTS (Seattle’s Best Punk) - Vol 3
This highly anticipated third volume - featuring 30 tracks of Seattle’s finest punk rock - is hot off the press and will be AVAILABLE IN STORES on TUES, JUNE 10. There will also be a CD RELEASE PARTY featuring nearly a dozen bands from the compilation on SAT, JUNE 7 @ The Central Saloon (207 1st Ave S, Seattle, 98104) - cover charge ($10) gets you entry to the show AND a FREE COPY at the door.
5/2/2008
New CD review of INSTANT WINNER "Thirteen Times" on NorthwestBands.com
Instant Winner mixes sounds from multiple genres; I don’t know whether to skank, mosh or headbang to their music, but deciding how to dance is about the only thing I am unsure about when it comes to this band. Thirteen Times is a veritable melting pot of different styles and sounds, ranging everywhere from metal riffs, to ska chords, to driving hard rock rhythms, and at one point even incorporates a pseudo-hardcore sing-along (in the song "Just Once"). This mish-mash blend of varying sounds gives the album a much more balanced feel than much of their previous work and gives each song its own unique identity. Just when I think I’ve got their sound and style figured out, the song will change and I’ll find myself just as baffled as I was a few minutes prior.
This 2007 release is a bit of a blast from the past (and I mean that in a very good way); the album has some solid roots in the late 90’s. Most prominent is the variety of Neal’s vocal styles, some late 90’s emo with a rock edge. Think early Saves The Day mixed with Less Than Jake, maybe even a little old AFI (pre ‘the art of drowning’) and at times (should I say it?) even a little Liam Gallagher. Quite a mix.
From start to finish, the album as a whole seems to have been very carefully constructed. Although each song on the album has its own distinct sound and characteristics, it forms a congruent, well crafted album when it’s all pieced together. Every individual track seems to flow well into the next, capped off by the similar intro-outro tracks which act as the metaphorical book-ends for the series of songs put in-between them.
In terms of the actual overall sound of this record, I was most impressed by how well each track was layered and the time spent on attention to detail. I found one such instance in the intro (as well as later parts in the song) of "Waiting to Love", which has subtly added keyboards that I didn’t notice until at least my second or third listen through. The other aspect, sound-wise, that I enjoyed most was the production quality of the vocals and guitar. Everything sounds perfectly smoothed out (or gritted up, depending on the intention of the song) without ever having the feel of being over-produced. Instant Winner has thankfully re-entered my life after a short hiatus, releasing a thirteen-track album in October, the band is fiercely coming back into the scene.
Reviewed by: Brian Anderson & Jacquee Swindle
12/14/2007
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PUNKS AND PINTS (Seattle's Best Punk) Volume 3

IN STORES 6/10/08
Listen To: "THE ONES "Black Is The Color""
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