Review : Gray Matter - Food For Thought/Take It Back CD

This CD rules. It came out in 1984 and 1985 on Dischord, two records, one CD. I'd never heard of them til I listened to the "Alive And Kicking" comp with the song "Walk The Line" which is amazing, but isn't the best song on the CD. Apparently the guys were originally in Iron Cross, but I find that really hard to believe. This is really melodic, and I guess first generation emo, whatever the fuck that means. It's dark, thoughtful punk rock. Totally up my alley.

It opens with a song called Retrospect, which is all about the same thing I've been doing for the last while. Questioning this lifestyle, wondering if it's really worth the self destruction that it brings. Looking back and wondering what's what. The song itself is also killer, lyrical content aside. It's melodic but still angry. It kinda reminds me some stuff on Living In Darkness by Agent Orange, not sound wise, just feeling wise. Oscar's Eye is good if not a bit slow but doesn't drag on like I feel most slow songs do. Fill A Void is next and is great.

We were never close we were never friends
cause you're the kind of person on which nothing depends
I don't wanna go home because there's nothing to do
But I'm standing alone when I'm with you
You're only here, to fill a void

That's great! That song is about so many fucking people I know. Give Me A Clue is another song that makes me think of Agent Orange, this one sounds kinda similar, the dark stoppy two or three really distinct parts of the song. Maybe even a little bit like Kids Of The Black Hole, but only vaguely. The high pitched backups in the chorus are annoying, but thankfully are low enough in the mix that they don't kill the song for me. Next is Gray Matter it seems a little out of place. It's not as melodic as the rest of the CD. This isn't to say it's bad, it just kinda sticks out. Caffeine Blues is next and sounds like what later Black Flag would sound like if it were good. It's kinda experimental, whatever the fuck that means, it has a good two minute long intro, and then it turns into this kinda poppy, radio surfy song. It makes me smile. Crisis and Compromise is next, I usually skip it cause I don't like the intro. Flash In Time is almost Circle Jerks'y but probably just because the drums make me think of Paid Vacation. Phobias is another song that doesn't fit in, another not too melodic song. Then to finish the first album is a Beatles cover. I Am the Walrus is as good as the Damned's version of Help. It drags on a bit, but I guess the original probably does too. This doesn't make me pull out my hair either, so that's gotta give it some points.

Chutes And Ladders opens up the second record and rules at doing so. It's a little harder/faster than the stuff on the first record, but retains the melodic aspect of it all. Burn No Bridges maintains the trend of a little harder than most of the first record. It seems a little bit more angry. It's a tad less singy and more impatient and spat out. Maybe intense? I dunno, more something and less something else. Walk The Line is on next, and it's a cleaner more produced version of the single that I don't like as much. It seems kind of like they redid it and lost some of the feeling that the original has. Kind of like a band that's been playing a song for 20 years and are only playing it because they know everyone loves it, but they don't identify with it anymore. It's still good, but it's obviously missing something. Take It Back is next and makes up for the missing emotion in the last song. Someone's really bugging him in this song, and I bet it's a girl. It's a solid song and is the best song on the second record, maybe even the whole CD. 4A.M. kinda sucks, I skip it. Head closes out the second record and is pretty disjointed. It's also seven minutes long. Most of that is some stupid shit that happens at the end, a bunch of ambiancey music with the singer dude talking over top of it, almost screaming at points. Then it breaks back into what you think is going to be the song, but falls apart after that and turns into more boring instrumental shit. Too post-Damaged Black Flaggy for my tastes. I skip that too.

After that it's the single version of Phobias which I don't like any more than the other version. The Spy is next, and is a little one minute long interlude type song. Surfy, good, short. The single version of Walk The Line. Everything about this version is better. It's raw-er, and has more passion to it. It's slower than the other version, but for some reason that doesn't bug me at all. I guess it doesn't need to be fast to be good or something. That's news to me.

Over all, the two records on this disc are two of the lost gems in American punk rock history. It's really too bad that they're so overlooked, as both of them really really shine at points. You can get the CD here or you can get them on cassette individually from here.

"Review" : Buzzcrusher 7"

I'm calling this a review, but really it's not. This is just me talking about how happy this record makes me for some reason. I don't know if it's the fact that the first song is called "Scorin' Dope From Bikers" and the way the dude says "Shit my pants" in it or what. He even says that more than once. You don't need to say you shit your pants more than once. It's Confederacy Of Scum stuff (ANTiSEEN, Cocknoose, Rancid Vat and the like) tough southern dude singing, crunchy guitar, simple lyrics. It's great. I laugh every time the song comes on, and then listen to it like five times in a row. It's not that good, it's just that awesome. The only bad thing about this song is that it doesn't have a solo in it like the one in their version of "State Control" by Discharge. If it had that kind of solo it would be the best song ever written. No shit. The second song, "Mexico Pizza," is a kinda honkytonkypunky song about how fuckin' hick he is. It's pretty ok. As soon as he says "Mercy" it's all over. That pushes this song to a different level. The song is summed up by the last two words perfectly: "Texas motherfucker!" Simply amazing. The second side starts out with "Watchout" which makes me think of something off Earth AD by the Misfits, it's just got that evil thing to it.

The final song is so far beyond anything that has ever been created I felt the need to give it's own paragraph. It's a Discharge cover. First off, I HATE Discharge. I hate them so much I felt the need to write it on the back of my vest. The only reason I like the original version of this song is because it makes me think of this version of the song. The song starts out pretty par for the course. Basic Dischargey whatever. It's nothing spectacular as you exit the second chorus, and then the magic happens. The magic lays in the solo which is so far beyond anything ever created that I'm curious as to why Buzzcrusher isn't idolised by the universe. This is sheer fucking genius. The utter perfection that is layed down in the middle of an otherwise boring song blows my fucking mind. I could go on for days about how amazing the solo is and you still wouldn't get it. There are probably about 10,000 notes played in the 14 seconds the solo lasts and they attack you with such musicality that I'm forced to use made up words like 'musicality' to describe them. It has to be heard to be believed, and even then it will take a couple listens.

A few old EPs people should find

Detonators - Emergency Broadcast System/Yer Child's War 7"
Kinda Stretch Marks-y. Guitar sounds kinda Jerry's Kids crunchy, vocals are what makes me think Stretch Marks. They're on the "All For One...And One For All" comp. From San Francisco, this came out in 1985, they did a bunch of other stuff that I'm not too familiar with and am currently trying to track down. I haven't heard the first LP, but I don't recall the rest of their stuff being nearly as good as this is.

KFTH has more info HERE

Jerry's Kidz - Well Fed Society
New Mexico, 1983, totally rips. That's Life is catchy as fuck and is another one of those stage dive onto your bed songs. I'm not sure why, but it makes me think of MIA. 5 songs, all good. Some noodly solos and leads throughout the songs, totally fits. Kinda Gang Greeny in that respecy but not in any other.

Manic Depressives - Silence On The Radio
Three tracks of super catchy punk rock. New Orleans 1980. The B-Side Going Out With The In Crowd has been one of my favourite songs since I first heard it on some KBD type comp a few years back. The other two tracks are good catchy happyish stuff, but don't stand out as much when you compare it to the flipside of the record.

Album review: Inepsy - City Weapons

Another batch of dynamite. This time it starts out with a bunch of people screaming and about to get blown to bits by some kind of bomb, an Invading City Weapon of sorts. The first song is a killer instrumental that as far as I can tell is about you realizing your city is about to be destroyed and needing to get to your motorcycle. I could be wrong, cause there's no lyrics, but that's how I take it. When the last bomb hits you think you're done with these city weapons, but no; you're back for another dose. Only this time the City Weapons aren't invading, they're already there. They're still killing you, but right now they're just some kind of bomb. Big bombs to be sure, but you're not sure of what kind of bomb they are. It doesn't really matter because regardless of what kind of bomb it is you're still running down the dirty streets of whatever city you're in dodging the pieces of falling flaming rubble. It's kinda like Ghost Busters, but without the marshmallow. So you reach a safe haven, and there's no more falling rubble. You're happy, you're about to sit down and light up your last cigarette as you see another plane fly overhead, you put your cigarette back into your pocket and get up to run again. It's no use, it's the fucking Mother of All Bombs. The Massive Ordinance Air Blast, that shit is the biggest bomb that they make other than nuclear weapons. That's what this record has got to so far. It's become the biggest explosive device set to destroy everything without radiating the shit out of it. So they drop this shit, BOOM, somehow you survive and manage to get to your motorcycle. You hop on that thing and it's all black and chromey and rad. You light up your cigarette, flip the collar of your leather jacket up, and slam that kickstart down so hard that the street around you cracks. Those cracks travel to the buildings beside you, you flick your cigarette to the side, scream out "Ride Til I Die!" and peel off as the stone begins to crumble. The camera cuts to behind you as you rip off, and then a big huge chunk of gargoyle, probably the head with an evil look falls right where you used to be. So you're ripping down the highway on your Inferno Machine and all you can think of is making it across that bridge on the front cover. If you can make it out of the city you'll be fine. This is it, the big one, if you don't get out you're fucked. You're racing along, and there's no stopping you. You're almost there, you're so close... What's this? Two asshole pickup trucks from some rival gang are gonna try and knock you down. Motherfuckers are gonna try to steal your bike? FUCK THAT. You're gonna unleash The Fury of Destruction on them pulling out your sawed off you blast a hole clean through both of the people in both of the trucks and then totally open up the gas and rip away. This is it, you're in the clear, you're ripping along, nothing's holding you back. You're about to Break The Chain, totally escape, and you're feeling good. It's open highway for miles and miles. Nothing can stop you now. It's 106 miles to safety, You've got a full tank of gas, half a pack of cigarettes, it's dark and you're wearing sunglasses. The bombs are exploding non stop in the background but you don't give a shit. Why? Because you're listening to this record as you rip along. Bombshell Rock comes on and you realize you're safe. You're not ripping frantically away from impending death anymore. Now you're just cruising, and it rules. The bassline and the solo are driving you to keep going faster and faster, and soon you realize that you're ripping along with the gas fully open and the trees and road signs whipping by you at a blur.

I tried writing No Order Disorder into the rest of the story, but it just didn't work. I Tried a few times, and it just wouldn't fit. The song rules, and all, I just don't know where it would put you after you just fled a burning city that was being destroyed as you ripped away. It's a good song and it ends abruptly. However, it does lead into the best song on the record, and in my eyes Inepsy's best song thus far.

The Last Call, is amazing. It's the perfect closer to this record, to a party, to a show, to whatever. This song is what I'm going to end my next few mixed CD's with. Sorry to ruin the surprise, but it's so perfect. It's the kind of song that I just lose myself in. It totally grabs me and gets me all head nodding and fist in the air-y. It's a perfect "Hey dude, we get it."

All in all it's the perfect followup to Rock'n'Roll Babylon. The guitars push you on and the bass totally drives it. It's dirty, it's ripping, and it's everything that I wanted it to be. If you liked the first record you won't be disappointed in this one. If you're an idiot and didn't like the first LP you're an idiot and I don't care about your opinion.

You can get it here: Feral Ward

Adolescents.

So we got to the Black Cat early enough that there was still a lineup of 16-18 year olds in Suicide Machines gear, who were obviously there and stoked for the wrong band. Or maybe I was just mad that none of the people who I thought should be at this show were there. At any rate, I got in line and started psyching myself up about how fucking amazing the show was going to be. It was crushingly hot and I was sweating, the Richmond dudes walked by and were going to go drink in their car, I wanted to go, but was not willing to give up my place in line on the off chance that I might not be able to get in. I sat around in the bar downstairs while the Briggs played, and all accounts point to my not missing anything by this. I think I ventured upstairs for half a song and decided that I had had more than enough at this point and went back downstairs for another pint.

Much the same was the situation for the Suicide Machines but with more humour from a severely inhebriated Eric and some funny skanking/ska renditions courtesy of Evir and Mr. Warthog. This is when I was told that Frank Agnew wouldn't be there due to some kind of knee injury which prevented him from doing any of the east coast tour, and would instead be replaced by a 15 year old kid from Wrecking Crew. I started to worry that the show wouldn't be that great as I wondered how a little kid could possibly be playing these songs as well as someone who'd been playing them for 20 years. The place cleared out a bunch and I made my way to the front of the stage where I watched them set up.

My excitement was almost uncontainable as they got up on stage and picked up their instruments. At first I thought that Tony Adolescent was a roady or something, just cause he looks like that type, a 40ish chubby dude with puffy hair grabbing the mic. Two teenagers grabbing the guitars and a Pig Championesque guy grabbing the bass. I looked at Eric and then Daniel (from Dead Metephor) and smiled and was about to explode as the amps lit up and the opening chords of No Way came blaring out of the amps. This kid was dead fucking on. The opening chorus of "NO WAY!" bursted out and his face was inches from ours as he screamed it out in unison with us before whipping back and shredding the rest of the opening lead. I can't say what the rest of the crowd was doing, but the people I was standing with were doing the exact same thing I was, standing in awe fists in the air belting out every single word to the song. Next up was Who Is Who, and as God is my witness, I have never got this song more. The fact that, even if he doesn't feel that way anymore, he could belt out those words with such conviction and meaning after 20 years was a sight to behold. I don't think I've ever sang along so hard as I did with "In front of a class of gawking fools that'll never understand." That line has been embedded in my mind ever since I first heard the blue album. Self Destruct was next which sounded as frantic as I imagine it would've 20 years ago with a few hundred kids circle pitting and stagediving. Slowing down a bit they went into Democracy, which I'll confess has never been one of my favourite Adolescents songs, and I took the time to have a little breather and look around. It seemed most of the crowd was doing the same, not bored by any means, but taking the time to see if everyone else was as blown away as they were by the opening three.

Next was a song called Lockdown, which I don't know at all. It was awesome, and I assume that it's on the new CD, since it's not on the first two, or the EP. Then the almighty Creatures. This was another one of the songs that the guitarist totally was losing his mind over, as were the rest of us. He was in our faces screaming Creatures along with us and having just as good a time as we were, which is always rad to see. Do The Freddy off "Brats In Battalions", which is so overlooked, led into LA Girl which I was mostly unable to enjoy as much as I should've due to some girl pestering me to let her take pictures despite my having been totally ignoring her and brushing her off for the set thus far.

OC Confidential another new track was introduced as being about Tony's brother getting his head kicked in by multiple skinheads at some point for apparently being gay. Apparently the thing that stuck out most about his brother telling him the story was that he said 'they kept on kicking me again and again and again' which is apparently where the chorus comes from. That said I think that this song easilly holds up to their earlier material. I love the new EP and this is one of my favourites's on it. I had it stuck in my head for two days after the show. Another slowdown with Welcome To Reality, which I feel drags on, then to Rip It Up, which did in fact rip it up. Then Word Attack, which was so fucking fast I can't even talk about it. I'm no slouch on singing fast, I can keep up with Slayer, DRI, or any of the other stupidly fast songs by stupidly fast bands but I could not for the life of me keep up with him on this song. It was mind boggling. It might have something to do with the fact that I only know 3/4 of the words, but I'm not sure. Losing Battle was up next and was number two on my list of songs they HAD to play. Just for the ending scream that he does on the Return To The Black Hole version of it. The pure anger and emotion that he growls out with that, I had to see if that was just a perfect recording of it; or if that was something that he could reproduce. I am happy to say that I was not disappointed. It was just as potent as it is on that live recording. I was floored and if I had to could've walked away happily if I had to.

Another new one to begin the last bunch, was California Sun. The verses of it are so good, but the chorus is too happy for how dark the song is and kind of breaks the mood a bit. At least on CD it does, live it was perfect. The whole show was perfect. Wrecking Crew was up next and if I hadn't seen the set list and knew what was coming up I would've risked being thrown out while this was playing but I wasn't prepared to miss Kids Of The Black Hole so I stood there and nearly broke my hand punching the stage along with the song. Amoeba was next and everyone went nuts. I don't get why EVERYONE loves this song so much. Yeah it's good, but it's not *that* good. It did however showcase some pretty good poses from Tony Adolescent as shown to the left. After all, it was reaching out on the telephone. The headshakes he had while pretending to be on the phone were classic. The photo really doesn't do it justice.

Kids Of The Black Hole... I really don't even know where to start with how fucking amazing this was. The two younger people in the band in such contrast to the rest of the band just made it more amazing. It was something I am so fucking glad I got to see. It's one of the most epic songs in my life, and seeing it live, with everyone in the band having as much energy as they did for this was something I don't think I'll ever forget. The song is one that has so much meaning to me and has been one of the songs that has always made me realise just how much I love being involved in this lifestyle no matter how down I am, or how much I hate everything that's going on at any given time. This is just one of those songs that ever since the first time I heard it the effect it has on me hasn't changed. It still shakes me as much as it did then, and still brings goose bumps to my skin. It honestly nearly brought me to tears I was so fucking into it.

The encore consisted of Things Start Moving, something else and then the classic I Gotta Right, which was another song that was as good this time around as it was on the Return To The Black Hole cd. I'm not a huge Stooges fan but this song is so good that it's no surprise it's been covered by every punk band in history at one point or another. I could feel it baby.

I was bummed that all the dudes from Winnipeg weren't there, but at the same time couldn't be upset about it because the show was so fucking good. We sat around for a few minutes after they walked off stage, trying to form sentences to express how amazing the show was. It was the best thing I've ever seen live. I've never felt so stoked after a show. It fucking blew my mind.

I can't wait to see them again.

Rant : An Old One That I Still Really Like

Sum 41 Isn't Killing Punk...You Are

So, I've been thinking about this for a while and something on one of the stupid message boards I frequent prompted me to go all out and do this right. I'll probably be bouncing around like a madman, unless Tara can somehow put this together in a sensible manner.

Too often I hear about how pop punk radio bands are killing punk rock, and I agreed with it to a large extent for a while. Then I thought about it, like actually gave it some real thought as opposed to just going "they're dragging the word punk through the mud." Thinking about what punk means to me, what it's down points are, and what strengths it has maintained since its inception.

In this I'm going to be saying "Punk is this" or "Punk is that," I'm not claiming that this is some form of absolute, or that what my definitions are, are the only ones. This is simply my point of view on the matter. My opinions are ones that I"ve formed in the 9 years that I"ve been involved in it, and have changed greatly in the last year or years, whatever. Don't come to me complaining about how punk is really something other than what I'm going to state it is. If you don't agree with something that I say it is fine, like I said, this isn't some dogma stating what punk is, or what you have to believe to be punk. The following are my opinions on the current state of punk rock, hardcore, pop punk and all things that fall under the umbrella that is the punk scene. It's nothing more, nothing less. One person who considers themselves a punk, and has always felt a deep attachment to the "scene".

Punk is and always has been something in a state of constant evolution, bands change, the music changes, the specifics of the counter-cultural and revolutionary portions of it change, but it has always strived to make the world a better place. Through raising political awareness to changing social opinions on acceptable fashion, punk has always tried to make an impact on the society that surrounds it.

Since punk first came about, it's always been a place for people who don't fit in with their peers. This was a place where people can go to be themselves without fear of retribution for being different. Or at least, that's what it was supposed to be. The fact that the punk scene is so filled with conformists and fashion police is repulsive. When I first got into the scene, it was a place where I could go and find people who thought along the same lines that I did, that weren't going to pick fights with me for dressing differently, for speaking my mind, or for listening to weird music. It was what it claimed to be. It was a place where I could go and feel like I wasn’t wrong.

After a few years of being involved in it I began hanging out with older punks, who began to tell me what punk was and like any other idiot kid wanting to be accepted by the cool kids, I fell in line and became what they wanted me to be. I was just another asshole who thought that if you didn’t act like one of us, you were some idiot poseur kid who wouldn't know punk if it came up to him and spat in his face whilst chanting "Oi! Oi! Fuck the system!!" I was just another conformist in a scene that prided itself on being anti-conformist and anti-society.

This kind of shit is what is killing punk rock. Not the fact that the popular music media has decreed that bands like Blink 182 or Sum 41 are punk. The idea that mainstream pop music has such a large effect on a subculture, whose roots are supposedly anti society, is preposterous. The concept that anyone within the punk scene who is actually devoted to it as more than just a thing to do for a summer would consider mainstream media's ideas of what is or is not punk rock is unbelievable. Why anyone thinks that it's a threat to our way of life, or whatever, is beyond me. I see no way that it's killing punk in any way, shape or form. It's completely independent of the punk scene. How can it have an effect on it?

People that are not within the culture have always had fucked up views about what punk rock is, and will continue to do so, as long as there is punk rock. The media will continue to attempt to create the misconception that punk rock is a bunch of people who are pissed off for no reason and choose to take it out on the world by dressing funny. Or it will attempt to comercialise it and present it as nothing more than bubblegum for the masses. Another happy genre of radio friendly shit.

Anyone who's involved within the punk scene can quite easily dismiss both of those claims as baseless due to the fact that we do have something to be pissed off about and that there is an inherent threat behind punk to society.

The only threat to punk comes from within itself. Years of fashion outshining the message behind the music is what's killing punk. The bands that so many punks flock to are the ones that are aiding its demise.

Years of violently enforced apathy and the backlash against any political views that was spurred out of the whole PC movement have bred the threat out of the movement. Punk cannot exist on 40's and skateboards alone. There is a need for politics and a desperate need to change things. The world is a fucked up place and there are things that are much more important than what society thinks punk means.

While I don't agree with all PC beliefs, it's a movement with its heart in the right place. It at least has tried to keep some of the focus that made punk as a culture necessary, Politics are an integral part of punk rock. What's the point of having a movement dedicated to change, that wants to keep itself stagnant in ways that started 20+ years ago? Society is not the same place as it was back then and punk shouldn't be either.

I don't want to pick an easy target, but I'm going to wear the shoe that fits, so I'll pick on the band that for some reason gets so much respect within such a large portion of the punk scene.

The Casualties are killing punk rock.

Songs about getting drunk and having a good time are awesome. I like hearing them, and I like singing along with them. But, they're not going to change a goddamn thing. Neither is enforcing a dogmatic code on people who need some refuge from a shitty home life, or school, or whatever it is that causes them to have angst against a fucked up society. Elitism and rigid rules about what is punk is what's made punk for a large part irrelevant.

A friend of mine recently got back from a trip to Philledelphia and was talking about the fact that all the punks down there had these political beliefs that they stood very strongly for. They had beliefs that were bigger than just the concerns within our own subculture. What amazed me was how truly rare this is these days. Kids are more concerned now, with who is wearing what shirt or is sleeping with who or whatever than what fucked up shit is happening on the other side of the world or within their own cities. The rules of punk rock have been established and you'll be damned if you sing about anything other than spikey hair, police brutality, up the punks or life on the street. If you want to deviate from this then go and join the pc hippy vegan collective that is the crust/thrash scene, is the prevailing attitude.

Maybe we need to fix ourselves from the inside out, but forcing everyone to be the same when that’s what we're trying to get away from isn't going to fix anything.

What happened to wanting to change the world? What happened to wanting society to realise that not everyone is going to fall in line? When did falling in line become something so crucial to ones existence within the punk scene? Why is apathy so accepted, if not expected, within it?

Punks are so quick to slag off pop punk bands because they have no substance, and are doing nothing for punk rock; meanwhile they're listening to some band that's talking about nothing more complex than their footwear. I don't know about you, but I'd say that my love life and all its fucked-up'ed-ness is more important to me than how many holes my boots have. What's really lacking substance here? Or is it just jealousy? I don't know. Punks are always complaining about these bands that lack substance, but as soon as someone puts something back into it it's instantly lobbed off to the side to lie within the pile of discarded hippy anarcho-commie clap trap that is political punk rock.

The hypocrisy that is so rife within punk rock has got to stop. People have to realise that in order to continue and make the changes that we all claim to so desperately want to see in society happen, that we need to get rid of the apathy that is so prevalent. We need to stop slagging people off instantly just because they have strong political beliefs, we need to stop this bullshit enforced conformity and let people be themselves. We need to regain the focus that we once had. That we need to remember that there is more of a reason for our combined existence within a subculture than just a place to go get drunk with people who like the same kind of music as us.

Punk is a powerful weapon, and has helped force society into accepting difference in a lot of ways. No longer do people get shit-kicked for walking down the street with blue hair, or at least not as much. Kids don't get expelled from school for having a ring in their nose. People don't care as much if you’re wearing some band shirt with some disturbing picture on it. Some people think this is a bad thing; I fail to see how it is. It's quite obvious to me that it just means that at least one of the original goals punk had has come close to completion. We've forced society to acknowledge that if nothing else, we can dress like we want to and it’s not a bad thing.

This is a far cry from all that was set out on. But it's a start. If we can just regain focus things may continue for another 20 years and punk may accomplish another few goals in righting the wrongs of a society that has attempted to break your spirits at every turn.

Rant : Back Again...

Fuck Everything?

Again, yeah.

I'm pretty much still sick of shit and looking to find an outlet for my annoyance with just about everything.

I'm not really sure where I want to go with this but I figure that I'll keep going with where the .com site left off. Same kinda thing, silly rants about shit that sets me off for no reason. Hopefully I'll go a little further with it than I did last time, since now it's free.

I figure this will cover everything from the debatably sad state of punk rock/hardcore, reviews, whatever, to flying airplanes, to the assholes who drive 10kph down Corydon for no apparent reason in the middle of the day. I don't even live in Winnipeg anymore and these fuckers still piss me off.