Q and not U - No Kill, No Beep Beep, 2000

It hard to talk about bands from D.C. without mentioning Fugazi, especially one so obviously influenced by the masters of the D.C. scene. And I won't lie, there are parts of this record that scream Fugazi, but really only in the homage category. Largely, and impressively, this band offers us a vision of post hardcore that really does make you think. And not just politically, but about love, life, laundry, and symbolism. These men were not fools, nor talentless copies of success. They created themselves amid the huge weight than can and has destroyed many bands out of D.C., and made themselves stand out by not just being in the right place at the right time, but speaking with voices and instruments melodically, methodically, and with hooks that still get me all these years later. "D-O-W-N and that's the way we get down..." My, my, what a wonder thing. And, my, what a wonderful album. Sadly, their later records didn't have the same depth for me, but this album has been, and always will be, quite near the top of my list of the all time greatest. You will not regret this record. No one does.

Circa Survive - On Letting Go, 2007

reviewed by Judasfry

I found out about this band a few years back after recovering from a serious bro-mance with 'The Mars Volta'. Searching for something that had similar lyrical depth... and some serious chops to live up to for a fan of TMV. I discovered this Philly based group that met the challenge and then some.

This release shows some growth from their first full length release 'Juturna' (which I also really liked, but between the two, this one is much tighter in production). The album title correctly instructs what we should all do with life's insecurities. The songs reflect the intensity that life's troubles can inflict if carried for far too long, and is pleasantly tied up with sweeping landscapes painted by the coordinated musicianship of the band as a whole. The album artwork is again a wonderful piece by Esao Andrews.

The opening track starts off this album adeptly and contains a great line "He makes it up as it goes, it goes away." Reminding us all that sometimes off the hip doesn't always make good permanent scenarios. From there the album continues a maddeningly pace, nagging the listener to try and keep up. The guitar lines phasing from simple lines to more dreamy phrasing, the drums & bass pounding the urgency home.

All in all a great bit of tune-age. If you dig this as much as I did, you might check 'Juturna', and if seeking something a bit slower paced, but still having the lyrical depth, the lead singer's solo release 'Avalon' is a great choice. And likely to reviewed at some later point by this reviewer.

[Rock and roll is the culmination of hundreds of years of popular culture. Some say it's leading us down a slippery slope of loose morals and wrong ideas, to a place where all of us will fall off the edge of a world that's just too flat. But not this editor, and obviously, not Mr. Judas. In a world where folks want to be handed the next best thing, it's refreshing that somewhere out there exist people of honest principles, who work to be proud, not to be paid. People who only want the best for their listeners, regardless of the cost in terms of comfort. Not every band gets to be the Rolling Stones, but enough of them try, edge of the world or not. Proof positive, though the world may be square, a few of us are actually listening to the rounders.]

Beauty Pill - The Unsustainable Lifestyle, 2004

In a previous review I looked at D.C.'s Smart Went Crazy, a Punk/Pop/Jazz combo lead by Chad Clark. Honestly, as I listen, Beauty Pill is practically the same band lead again by Mr. Clark, and a ragtag group of SWC survivors. A similar energy, Clark's songwriting and studio methodology, and a sensibility that makes them approachable and serious without being too overtly political. But, they're from D.C., and who isn't political there. But the secret seems to be, as a group, they're really only interested in telling real stories with great music, drawing us in with acumen and aplomb. And not without context. These aren't etherial musings on issues, but direct cause and effect questions. Will you come visit me when I'm in prison? Telling us the Mule's name is Consuelo, if we'd been introduced. And that, if we think about it, Idi Amin's violent dictatorship, and the assassination of John Lennon are just two terrible things that happened, why not go outside and stop them. It's a good question by a good band who just wants to know. This record suggests that it takes more than hooks and looks to make a point. Thanks, Beauty Pill, I think I get it.

Fu Manchu - Signs of Infinite Power, 2009

After hesitating for several days about this review, and having spent the last few years following other bands, I wanted to give this record a chance. Fu Manchu, in my mind, was once one of the most interesting stoner rock bands out there. Vital and raw, Brant Bjork's drumming set off an elaborate, gain fueled metal experience that spoke to the depths of my spirit. The spirit that craved this uncooked, unbridled rock and roll. But, now, I find myself wishing this record were over. Hooks that fall flat, solos that feel weak and uninspired, and, man, the lyrics are like a preteen describing his favorite comic book. Not that they ever expressed the depths of man's ennui, but honestly, what happened, Fu Manchu? I still listen to everything they put out for Mammoth (except 2000's King of the Road, I didn't like that one either) and Man's Ruin, especially the Godzilla's (Eatin' Dust) ep, but this record will never make it in my collection or my consciousness. It's a sad reflection of a good band falling apart in the wake of a promising career. Bands do fall apart, but the good ones know when to quit. Disappointment. That's what I feel right now.

Skeleton Key - Fantastic Spikes Through Balloon, 1997

From its inception, Skeleton Key stood out as a band that didn't care what people thought. Coming from New York's art punk scene, they take us to places not often explored. Erik Sanko's brilliance opens doors, and gives us insights we may not want. A nightmare reality, with "The World's Most Famous Undertaker," a song steeped in what becomes obvious metaphor, "Only Useful Word," and my personal favorite, and also the last track on the album, "Needle Never Ends." Musically, they feature a junk kit player as well as a drummer, something that sets the tracks apart from anything else that came out at the time. But it's not so far out that its confusing. It's centered, honest, and worthwhile listening. If I had to compile a list of the best albums of the 90's, it would be there somewhere, and not too far from the top.

Ministry - The Mind Is A Terrible Thing To Taste, 1988

What else can someone say in an immediate way, but wow. They took what Skinny Puppy was attempting to do, and brought it directly to the mainstream. But they did it without selling out. It's a wonderful follow-up to The Land Of Rape And Honey by not forgetting what they learned from Honey. The programming is better, the drumming is better. The musicianship and the overall production values brought them to a less eclectic audience, an audience willing to pay large dollars for a performance (If you haven't seen "In Case You Didn't Feel Like Showing, Live", then I highly recommend picking it up. It features a performance by Jello Biafra (of Dead Kennedy's fame), and puts a light on the then future relationship between Jourgensen and Biafra (LARD).

Rye Wolves - Oceans of Delicate Rain, 2008

I saw this band for the first time about three weeks ago, and they literally knocked my socks off (they being extremely loud. Think the volume of the Melvins). But what impressed me, was their stage presence and ability to keep an audience in thrall. Now, this says I'm reviewing Oceans of Delicate Rain, but really I'm talking about the band, themselves. Three of the most calm and kick back guys you'd ever want to meet, they put all their aggression and angst, ennui and anomie in the music, and keep their lives as clean and bullshit free as possible. The space they practice and put on shows, EpicSpace, has a sign out front that reads "Hate Free Zone." And you have to believe it. They welcome everyone, and at the end of the day, help everyone pick up all the socks (they've gotten used to it by now). Anyway, check out the wolves onmyspace, and I think you'll agree. THEY FREAKIN' ROCK!