Ubermanoeuvre are a five-piece band, from South East London, UK. They have been compared to Rage Against The Machine and Enter Shikari, to name a few, and dub their own style as high energy rock.

There’s so much going on, and so many differences between each track, that it’s only fair to mention (nearly) every one.

Kicking off this, their debut album, is the title track, with an electro intro, leading into a hip-hop (with underlying synths) verse and shouty chorus, I guarantee you will never have heard anything like this before. And it will be a total mind fuck. There’s so many different elements to the one song, but don’t dismiss it yet.

Track two, ‘If I Were You (I Wouldn’t Be Me)’ opens with a very brief piece of acoustic guitar, then it’s straight into the (quite heavy) thrashing guitars. There’s also a creepy keyboard riff, adding an eerie element to the track. Even though there’s not as much going on, it’s still hard to place under a specific genre.

‘Call To Arms’ marks another change in sound, this one’s more emo, but still electro. Think HelloGoodbye meets Taking Back Sunday- cheesy cheerful, but screamo. Adding to this is the piano breakdown and the screamy choruses.

Track four, ‘Apathy Loves Company’ is one of the catchiest on the record. It’s still really odd, but by now you’ll have got used to the sheer weirdness of it all. Track five is more guitar driven, which suits them more, but then it’s back into the crazy mix with ‘Never Bring Your Girlfriend Flowers’- jazz piano under a hip-hop beat. But, somehow, it works. ‘9am: Monday’ is more hip-hop-y, with a emo/screamo chorus.

Then there’s track eight and 10, (‘Now! That’s What I Call Karma, ‘2378′) that are more downbeat and simple hip-hop rock.

As it’s so unusual compared to anything you’ll have ever heard, it’s impossible to really sum it up- so just check it out and decide for yourselves.

But, to recap, Ubermanoeuvre play screamo- electro- hip-hop, with synths- a- plenty.

There’s way too many dashes in that last sentence.

–Frankii

Rating: 3 out of 5 stars

Call me confused. When I saw this CD in the ‘inbox’ I was super excited that I had some new psychobilly from “Thee Flatliners” … turns out that an extra e makes all the difference in the world. Immediately I was disappointed. Have you ever gone to take a drink of soda or beer or whatever and grabbed someone else’s beverage instead? Even if it isn’t something bad, the initial confusion of it not being what you expected can leave a bad taste in your mouth.

Well that is what I was experiencing with The Flatliners right off the bat. I’m glad that I stuck it out. I’ve been listening to Cavalcade for the last few days on my way to and from work. Over these last few days I’ve found a lot to enjoy. I also found some things to be concerned about, but I’ll discuss that later.

The disc provides 14 tracks of surprisingly diverse punk flavored tracks, each one with its own distinct flavor. There is a subtle Lawrence Arms quality as well as touches of Bracket. I think it speaks wonders for the roster consistency of Fat, no? Aside from the label mate similarities I hear bits of Bruce (Springsteen) and the other Bruce (Dickinson). Maybe I read too much into things though.

Aside from my initial disenchantment and eventual rock and roll epiphany, I can offer these words for The Flatliners – Cavalcade: Don’t be like me by almost not giving it a chance. That is wrong and I should know better and so should you.

A final word for the band, while I now appreciate what you’ve got going on, you’re flying dangerously close to the radio rock sun. Be careful Icarus. Be careful.

–Jerry

Throughout the history of Good Riddance there have been numerous songs which, for whatever reason, we weren’t able to include on our primary releases. Many of these tunes were frequently played live and most of them are still some of our own personal favorites.

Now that we are finished we felt it would be cool for our fans to be able to check out these hidden or obscurely released snapshots of our band during the apex of it’s existence. We hope they bring back fond memories for our fans and that, even if just for a moment, they can be transported back to a different time and place.

06/11/10 Apple Valley, CA Angel’s Roadhouse w/ Hurry Up and Die
06/12/10 Long Beach, CA INK & IRON FEST w/ Hepcat, Stiff Little Fingers, X
06/13/10 Carlsbad, CA Hensley’s Flying Elephants Pub & Grill
06/25/10 Carson, CA Home Depot Center VAN’S WARPED TOUR
06/26/10 Mountain View, CA Shoreline Amphitheatre VAN’S WARPED TOUR
06/27/10 Ventura , CA Seaside Park VAN’S WARPED TOUR
07/16/10 Portland, OR Dante’s w/ The Cute Lepers
07/17/10 Seattle, WA Funhouse w/ The Cute Lepers
07/18/10 Vancouver, BC Canada Venue 19+ w/ The jolts
07/22/10 Boise, ID The Red Room w/ The Cute Lepers
07/23/10 Salt Lake City, UT Burt’s Tiki Lounge w/ The Cute Lepers
07/24/10 Denver, CO Marquis Theatre w/ The Cute Lepers
07/28/10 San Diego, CA The Casbah w/ The Cute Lepers
07/29/10 Riverside, CA The Vibe 18+ w/ The Cute Lepers, Lost Cabras, Madison Bloodbath
07/30/10 West Hollywood, CA Troubador w/ The Cute Lepers
07/31/10 San Francisco, CA Slim’s w/ The Cute Lepers

© 2010 Sailor’s Grave Records

Rating: 4.5 out of 5 stars

Generally speaking, I don’t gush. I’ll take a small exception this time. I cannot stop listening to this CD. The Hollowpoints are one of the most energizing bands I’ve heard in a quite some time and quite possibly the best band I’ve heard so far this year.

Outside of my personal accolades (slightly), this disc offers 12 tracks of punk rock combined with solid songwriting ability. Perhaps I’m getting older, maybe my tastes have changed, but I appreciate quality arrangements and songwriting more than I ever used to. The Hollowpoints have both. (Maybe it’s because I listen to music on headphones before I review it now.)

What makes someone like something vs. something else? I often wonder this when I’m trying to put pen to paper (so to speak)  … well here’s my amateur psychoanalysis of the phenomenon. Certain sounds correlate to how you feel. The affectation that you get when you listen to things that enforce how you are feeling making them rise above the others.

Outside of my minor league pontification, this is one quality disc from start to finish; Great riffs, intelligent lyrics, quality instrumentation and a lot of references that I just can’t help but think might just be about me. As a point of reference (for those who need it) The Hollowpoints remind me of the following: American Steel, The Clash, Dead to Me and Cheaptrick … so there.

The bottom line: If you buy one punk rock CD this year, make it The Hollowpoints – Old Haunts on the Horizon.

–Jerry Actually

“We feel that Epitaph has a natural understanding of Social Distortion; both the history of the band and the direction we want to go,” says frontman Mike Ness.  ”Combine that with their successful track record and it felt like a good next step for us. We’ve always been open to new ideas and pushing the envelope, but we have also been very conscientious about the decisions we’ve made. We considered a lot of options, but in the end, Epitaph feels like the right home for us. We’re looking forward to taking this step forward, opening some new doors with this upcoming album and this next chapter of Social Distortion.”

“My relationship with Mike goes way back to the beginnings of our careers in the LA music scene,” adds Epitaph owner and president Brett Gurewitz.  “Through the years Social Distortion have been a matchless voice in American rock and roll and I couldn’t be more thrilled to play a part in the next chapter for this great band.”

In March the band entered a Burbank studio to record their yet to be titled seventh studio album, produced by Mike Ness, which is slated for release this fall.

“We went back to tape, old compressors and old microphones,” Ness recently told Spinner.com. “We’re just really trying to fight modern technology as much as possible.”

“The record reminds me very much of Somewhere Between Heaven and Hell (the band’s 1992 release), but also I’m bringing elements of early New York ’70s punk,” said Ness.

Social Distortion also recently announced a U.S. summer tour with Dan Sartain and The Action Design. The tour kicks off July 27 in Poughkeepsie, NY and makes seven stops in the Northeast before the band heads to Chicago for an August 7 main stage performance at this year’s Lollapalooza.  Dates with Dan Sartain and The Action Design resume in Green Bay, Wisconsin on August 8. A complete list of tour dates follows.

Formed in Fullerton, CA in 1979, Social Distortion have spent the last three decades performing their signature style of roots driven rock ‘n’ roll and hard luck stories for fans worldwide while recording six classic, critically heralded albums including Mommy’s Little Monster, Prison Bound, Social Distortion, Somewhere Between Heaven and Hell, White Light, White Heat, White Trash and Sex, Love and Rock ‘n’ Roll.

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Social Distortion Tour Dates:
July 27 – Poughkeepsie, NY – The Chance
July 28 – Hampton Beach, NH – Casino Ballroom
July 30 – Providence, RI – Lupo’s Heartbreak Hotel
July 31 – Hartford, CT – The Webster
Aug 1 – Sayreville, NJ – Starland Ballroom
Aug 3 – Wantagh, NY – Mulcahy’s
Aug 4 – Lancaster, PA – Chameleon Club
Aug 5 – Rochester, NY – Nola’s BBQ
Aug 7 – Chicago, IL – Lollapalooza
Aug 8 – Green Bay, WI – Oneida Casino
Aug 10 – Council Bluffs, IA – Stir Cove @ Harrah’s
Aug 11 – Boulder, CO – Boulder Theater
Aug 13 – Boise, ID – Knitting Factory
Aug 14 – Medford, OR – Medford Armory

For More Information:
www.socialdistortion.com
www.myspace.com/socialdistortion
www.epitaph.com

(c) 2009 Sadplant

Rating: 3 out of 5 stars

The prolific Connecticut punks of Sadplant are back at it again with another DIY release. This one entitled, “The Kids Are Alright.” 14 tracks of driving punk with short track lengths with matter of fact lyrics and a straight for the throat attack. Sadplant has a definite consistency in their sound. This is certainly not a bad thing, but as opposed to very distinct releases, the albums (that I’ve heard) seem more of a continuation on a theme. There is, of note, some of the rippinist harmonica jams on track nine, “Total Piece of Shit” … so enjoy that!

What I admire the most is the tenacity in which this band attacks the DIY punk scene. They take a no holds barred approach to writing, recording and distributing rock solid punk on no terms but their own. “The Kids Are Alright” starts with the requisite intro and briskly jumps into the remaining tracks, including a gem of a cover in Suicidal’s “Possessed to Skate.” This, of course, occurs directly after the “bonus” bash the bass player segment.

So, the bottom line, Sadplant continues to deliver a consistent high quality product that doesn’t drift too far from the scope of what I’ve come to expect of the Sadplant sound. Of course by the time I finish typing these words they will have at least four new releases. Take it for what it’s worth.

–Jerry Actually

If you miss Nirvana and have ADD –who doesn’t? – check out Dead Cats Dead Rats’ latest album, Riff.  The longest of the nine tracks clocks in at 2:52, and it all sounds more like 1989 Seattle than 2010 Massachusetts.

The first five tracks are flat out good.  They’re so good, in fact, that it takes a few laps around the album before you catch your breath and realize that the second half drops off a bit.  Still, I’ve been listening to the album nonstop for a week now and I’m not skipping any tracks.

Track four, “Yeah Yeah Yeah,” starts with one of the catchiest hooks I’ve heard in a while, a lazy little backbeat job that’s perfectly placed to follow the howling crescendo at the end of track three, “Subterranean.”

Track two, “Chuncky” is arguably the best of the album.  Opening with the line, “Radio wouldn’t play my song,” it does the soft/hard slow/fast dynamic to perfection, and coupled with Matt Reppucci’s screaming vocals, it’s easy to see why the name “Cobain” comes up in a lot of Dead Cats Dead Rats reviews.

Tracks six and seven are the weakest on the album, but not without value.  They just ramble a little and aren’t as memorable as the rest of the album, which closes with a nice little bluesy number titled, appropriately, “Fritter Blues.”

Dead Cats Dead Rats has a lot of talent and a great sound.  Since their last release, they’ve gotten tighter and more polished without sacrificing any style or energy.  Here’s hoping they keep doing that.

–Ozymandias

(c)2010 Heart and Skull / Epitaph Records
Rating: 4 out of 5 stars

I’ve got a soft spot for Alkaline Trio. I’ve been listening to them for the better part of the last 12 years. After I first heard Goddamnit I was hooked. I have to admit that after they left Asianman Records I got a little disenchanted. Not that I begrudge them the popularity and a little recognition for their hard work, and don’t get me wrong major labels are a collective bag of douche, but I don’t blame A3 for that. However when I heard they were starting their own Heart and Skull label in conjunction with Epitaph I was relieved. I hoped that things might get back a bit closer to the earlier days. I heard that that the new release was going to rock it a bit harder. Well I finally got a copy of This Addiction and I’m fairly convinced that the rumors I heard were right. The 11 tracks are more reminiscent of something around From Here to Infirmary. The content has a little more edge and a little less emo to it. For fans of the more downtrodden of A3’s work, don’t be disappointed (or do, if that is what you’re into) I’m just saying that they brought it back a bit, but this time with a lot bigger production. There are lot more layers to the songs and a lot more variety. The zip of track two, “Dine, Dine my Darling” is refreshing. So are the 80’s keyboard sounds on “Eating Me Alive”. Hell there is even a horn track on the also up-tempo track three, “Lead Poisoning”. When it’s all said and done you know this is Alkaline Trio, but it’s an Alkaline Trio that seems somehow revitalized. This Addiction is well worth it.

–Jerry Actually