*Steve Papp = (SP)    Tom Wright = (TW)    Neal Agneta = (NA)*

THE LAWNDARTS - Volume 2 (Lawndarts Records)

I had mixed opinons on this CD. At times it reminds me of some defunct, catchy, mid 90's pop-punk bands like Plow United,and The Halflings. At other times i thought of the 1st Offspring LP on Nemisis Records. The 1st track entitled "Love Song", and the cover of the classic Go-Go's song "Vacation" were really rockin. The other tracks would've been as cool, except for the fact, that i think the vocals could use more energy. The music had me bouncing around, but the height of the vocals made it drag a bit. Overall a decent release. I'd like to hear more. (SP)

CONSUMED - Hit for Six (Fat Wreck Chords)

In the tradition of fast paced, hard-edged punk bands like Strung Out and Snuff, comes CONSUMED. This quartet of Englanders' latest CD, Hit For Six, is of the most powerful and energy-charged releases obtainable.

Hit For Six grabs you from the get-go with "Sunnyside Up," an homage to dating and romance set to the backdrop of heavily distorted punk rock. This seems to be a continuing theme for Consumed who on the third track will "wake up with a smile, just for you" during a faster than typical drum break that should have everyone in the crowd singing along with the band. "Start Living" is a powerful and intoxicating closing to the album, but sends out somewhat of a mixed message with its either pro or anti views on alcohol.

Whatever the case, Consumed's Hit For Six should be a staple within every punk fan's household. Whether skating, boarding, or laying in bed with your other half, Consumed can successfully provide the soundtrack of your life. (TW)

Naked Raygun Basement Screams/Re-Issue (Touch and Go)
There are few bands that can claim they are/were "without peer" as the old cliché goes. Chicago's Naked Raygun were one of them. Yes, there were some pretty substantial Chicago heavyweights back in the '80s - Big Black, and The Effigies to name a few, but none of them came close to matching the character, slyness, and talent Raygun had. As far as I'm concerned Naked Raygun re-wrote the rules of American Punk as it was known in the mid-'80s, and today there is really no one around that comes close to matching the searing power and charisma as they had. Echoes of Naked Raygun are quite audible in guitarist James Haggarty's Raygun offshoot band, Pegboy, and another Chicago group, The Bollweevils, often preformed Naked Raygun tribute sets. For the better part of the '90s the Raygun catalog languished hopelessly out of print. This has been rectified by six well-thought-out reissues of all their albums and for the first time on CD, the incredibly scarce Basement Screams EP. Each disk contains original art, lyrics, generous liner notes and a smattering of bonus cuts. No excuses kids - this stuff is available again and you won't have to pay collector scum prices anymore! (NA)

Naked Raygun Throb Throb/Re-Issue (Touch and Go)
Basement Screams boasts the first incarnation of Raygun featuring the groupsonly life-long member, vocalist Jeff Pezzati, onetime guitarist SantiagoDurango and drummer Jim Colano and bassist Camilo Gonzalez. All those folksthat forked over big bucks for the EP in recent years found out whatlongtime Naked Raygun fans have always known - Basement Screams is fun, buthardly crucial. "Bombshelter" and "Tojo" lay out the blueprint for theband's classic sung-chant-shouted hardcore-punk and acerbic wit that wouldbecome their undeniable trademarks. Of all the reissues, Screams offers themost plentiful selection of bonus cuts, most of which are derived from arehearsal that could just as well have been left off. If anything these tracks will serve as a historical document of Pezzati and Co. honing their chops for greater things to come. (NA)

Naked Raygun All Rise/Re-Issue (Touch and Go)
Greater things to come indeed. Raygun's first proper long-player, Throb Throb improves things ten-fold. With the band's primary guitarist, James Haggerty on board, there is a real sense of purpose to this album. Coming out all gun's blazing with the opener, "Rat Patrol," Naked Raygun stake their claim with many of their finest moments including the propulsive bass-heavy dynamics of "Surf Combat," and the anthematic "I Don't Know." Not without some artsy filler, Throb nevertheless outlined what was so undeniably great and innovative about them. (NA)

Naked Raygun Jettison/Re-Issue (Touch and Go)
Jettison's opening cut, "Soldier's Requiem," is a ripping, punk rock call-to-arms if there ever was one, that not only kicked off a great album but also showcased the group at the peak of their powers to boot. This album absolutely cranks from one jubilant cut to the next. Naked Raygun played their music with the most celebratory passion ever displayed by a punk band, before or since and they showed it both live and in the studio with equally convincing results. A killer cover of the Stiff Little Fingers anthem "Suspect Device" rounds this one out with some hotter-than-hell live bonus tracks and the fine single side "Vanilla Blue." (NA)

Naked Raygun Understand/Re-Issue (Touch and Go)
Album number five, Understand? is my personal favorite, if I really had to narrow it down. With dizzyingly melodic gems like "Treason," "The Sniper Song," and the gleeful ode to inebriation "Wonder Beer," this is the album that really helped cultivate my love for Naked Raygun. It was also the last album with longtime guitarist and veritable backbone, James Haggerty. In a way this was their final hurrah for many fans, not to mention their most consistent and enjoyable album. Line of inspiration - "The only thing worth having is what can't be taken away," from the title cut. Raygun…Naked Raygun (1990) (Touch and Go Records - reissues 1999)(NA)

Naked Raygun (Touch and Go)
With the departure of Haggerty, Raygun carried on for another album with new guitarist Bill Stephens, which really didn't differ too much aesthetically from their previous output, yet definitely lacked the songs and alluring charm. As Pezetti himself says he was disappointed with the album's compressed mix, and who can blame him? Still, Raygun… is a fairly true to form, albeit none to essential Raygun album, featuring some not-to-shabby cuts, like "Fever Island, and "The Promise." Bonus tracks on this one feature two Buzzcocks numbers - "Love Battery," and "Runing Free," and their take on old school punkers Chelsea's "Last Drink." (NA)

CHOKING VICTIM NO GODS/ NO MANAGERS (HELLCAT RECORDS)
Disguised in a CD cover that looks like a reject design from Goths 'R' Us, resides Choking Victim. Their NO GODS/ NO MANAGERS CD layout gives the impression that playing this disc backwards will spawn Satan's child. However, Choking Victim impresses with their clean ska riffs and contrasting "hardcore-ish" choruses.

Bands with a cause tend to leave a bad aftertaste, but this is an exception to the rule. "500 Channels" takes a shot at the new TV Generation with a poppy intro and lyrics with an aggressive message. The vocals on this album are a sweet blend of Tim Armstrong (Rancid/Op-Ivy) and Jay Navarro (The Suicide Machines). And with songs like "War Story" which features a melodic opening guitar riff that could melt butter, NO GODS/ NO MANAGERS has a little dash of everything that makes punk cool.

Choking Victim also gets applauded for the profound phrase on the back of the CD that simple reads, "Beware of the victim." That was the chocolate mint to the three-course meal handmade by this incredible Hellcat band.
(TW)

OSKER TREATMENT 5 (EPITAPH RECORDS)
Epitaph Records has just released punk rock for the next generation via Osker. This group of young ruffians' TREATMENT 5 exhibits talent way beyond their eighteen years.

Many have tried, and many have failed, but Osker managed to capture the essence of teenage angst as it actually exists. They avoid metaphors in their lyrics and keep them true to life. Although all the songs meet the standard requirements to be considered a good punk rock CD, "Alright" seems to have passion some of the other songs lack. "Stop the Bus" is the feel-good song that makes everyone want to get up and dance, or mosh, or whatever the kids are doing at shows these days. The minor flaw of TREATMENT 5 is the presence of "the British Syndrome." In layman's terms, that is the need to sing with a British accent, commonly found in American punks.

Osker gives one hell of a performance on the album that should make all struggling and failing, twenty-something punk bands from all the world jealous of their success. However, success was inevitable for Osker. You can't go wrong with songs titled "Asshole" and "Fuck Me." Bravo.
(TW)