Beach Slam - Brutal Knights - Terrible Evenings

It appears that entire songs continue to be built around slipping said words into the lyrics, and that's about as boring as bean curd. What ideas? That we've come to a point where left wing and right wing mean little more than what camp you ally yourself with. That language has become corrupted and communication impossible because we avoid naming names, telling it like it is not in a cliched way but in a "this is a chair, this is a child, this is a chair cracked over the head of a child because the child is black and the cracker is white or vica versa" , and being frank about real issues like how we get along with our neighbor.

In this era of glad handing and political correctness from every ideological stripe, Wallers' words make people uncomfortable, thus he is called a bigot or writen off as a "transgressive" chipper. I've listened to The Empire Strikes Back at least 20 times and what I hear are better than average song lyrics pinned to a great set of songs. The music lopes along, sliding big thuggish bass lines though A Frames style retardo-drumming. The Empire Strikes Back is both a smart record and a great one through and through.

This time around I side with the Teasers. Criminal Damage manage to capture the sound and spirit of the No Future label with such ardor that they feel familiar even on first listen, like hearing a lost recording from an old favorite band.

The crisp, loud sonic presentation is as reminiscent of those old No Future releases as the driving melodies and chanted choruses. This is not a record for listeners who demand their music must never retread from past movements, but for the rest of us, this is a will fit snug on a mix tape alongside those killer Blitz and Partisans tracks. Curse of the Birthmark "Welcome to Hard Times You're Late" 12" EP 'Tis about 6 month late on this, but that doesn't make this any less of great listen.

COTB play five minimalist, sinister sounding punk tunes that actually use a synth as an instrument not as a gimmick. Please track this puppy down because there is a lesson in this for you: If you are going to fuck around with electronics you best know how to write a song first. Blurps and bleeps do not take the place of a good tune. Neither do funny costumes or saxophones.

When you do get this record, note that the drummer actually gets a bit creative without being busy or jazzy. Note that while the songs are simple they build tension and release it and then attack some more. These guys use something called dynamics. Please, please take note. This is absolutely not them. There isn't much to say about this record except that it has four songs and none of them are very good.

Demon's Claws are a good fit for the Hook and Crook label, as they sound as if they were spawned from the same snake-filled canyons as Haunted George, the same peyote-tripping deserts as Golden Boys. Well, except that they're from Canada, but they still vibe on a similar, somewhat creepy and wayward Texas-psych level.

The A-Side of this thing is where the action is, as they bust out of the gates with a cover of Rockabilly legend Ray Condo's "Sweet Sweet Love Tonight" that rocks and billys just perfectly. The B-Side blurs together a bit, four songs that blend together without leaving much of an impression aside from the ghostly reverb plastered all over, but the rollicking "How The West Was Won" does peek it's head out from the pack, with guest harp-wailing from Walter Daniels. In all, these guys are a band who I dig way more on record than I have live and this sounds waaay better than either of the two actual live sets I've seen by them.

Loose and lively guitars and vox backed by solid Skip Jensen drumwork and a recording session that sounds a bit inebriated, but not too much. If you dug their LP, this should interest you, as it's all new material. The loudest, most powerful voice belonged to Gary Floyd, howling frontman for The Dicks. The Dicks ranted with their songs against the corrupt police, taunted the audience with a ballad about glory-holes, and pushed boundaries by proclaiming themselves a gay, communist band of thugs.

The Dicks "Ten Inches" 10" The cover of this record is near perfect: the classic Dicks hammer-and-sickle logo; Gary Floyd looking like an even lower-rent Divine making a poor attempt to hide his package inside a leotard. The Dicks threw it in everyone's faces, perhaps the only band in history who could pull off a set with both "Bourgeois Fascist Pigs" and "Little Boys' Feet" and not seem like a joke band, backing up what should be a ridiculous combination of ideals with some of the greatest confrontational punk ever.

They were serious about challenging morality and treading on the other side of the tracks, even amongst the punk community itself. And they managed to be legitimately threatening, not being of the skinny safety-pin punk variety, but just as mean looking as the many beercan throwing cowboys I'm sure they had to square off against in their time.

The Dicks really had it all, and are one of those litmus bands that I believe says a lot about where someone stands as far as taste goes. If you don't like The Dicks, well, you either haven't heard them or something isn't quite right.

Boys' Feet". Floyd's vox are pushed way up front, you get some decent audience baiting to a seemingly less-than enthused crowd, and good fidelity throughout. The band slops it up a bit at times, but as a staunch Dicks supporter I find it an excellent addition to their recorded legacy.

Brad X. Two Oden-penned s hits, the A-Side being the Ramones-ified trash of "Justine's A Junkie", and the flip containing the more Samoans-like drug addled garbage-punk of "Burned Out", plus an uncredited "mystery cut". Scum stats: first pressing was on clear and on black, sold out. Repress of on red on it's way. Now, why would they want to go and leave the cake out in the rain? I present to you Fat Worm of Error.

While I knew what I was getting in for and anticipated listening to this LP, the first time through, it hit me wrong. The music sounded too haphazard and the vocals too forced.

After a couple listens, though, it clicked. Recommended to the weirder of the weird among you. The First Punic War "Unicorn" 7" There is a drawing of a naked unicorn-girl on the cover of this record. No shit. These guys are worshipping at the altar of Chrome, but really sound a lot more like really early Today is the Day or second tier AmRep-styled weird punk say, Love or Mog Stunt Team or something similar.

Some background looping and synth effects and other electronica shenanigans over which some post-industrial mayhem is played out. Sounds cool, but it just kind of comes across like a lightweight Jesus Lizard rip, or David Yow fronting some shitty fourth tier group from the late Eighties Wax Trax roster. It does appear they are from Iowa, so I give them some credit, but it seems like trying-too-hard-to-be-weird-punk to me. Nice thick silver sleeves and pink or yellow vinyl, limited to a few hundred.

What made that band great was that, inept as they were, they were still trying as hard as they could to sound good. Not in a PC way, but in a lame, overdone, unfunny way. FM Bats "Bats Are Out to Harm" 12" EP I've always been a proponent of whatever project Hot Rodd Todd stumbles his way into, whether it be Neon King Kong, The Distraction, or even on the last FM Bats EP, because all of those band's records would undoubtedly have at least one or two monstrously catchy tunes that would tunnel deep into your ears and latch on tight even after the filler that was the rest of the record tried to wash them away.

Well, that theory can now be put to bed, as this latest EP has very little going for it. No "All You Do is Jerk". No "More Trouble at the V".

Just a lot of plodding around and Todd running off at the mouth without any semblance of a hook to back him up. Heaping portions of art-punk thud that rarely gets you to take notice.

While I listened to this I kept thinking that if this were a live show I'd be outside smoking. Not even Mike McHugh production saves the day. I imagine these boys spend their free time listening to the Circle Jerks, Negative Approach, and old Dischord releases, but unlike those forefathers of the genre, this album is without strong and memorable songs, focusing more on blurred energy than catchy hooks.

A definite put-the-creep-on growler built on the repetitive plucking of a skeletal riff and some spectral vox. On the flip, "Graves in the Desert" is bone-chilling nastiness that is mean and punk, in a Necessary Evils kinda way.

Both songs are just as good, if not better, than anything on the LP. Creepy Christgau gives this a straight A. Scum stats: copies, and a French import, so snatch it if you see it. A split release between Nasty Product and Sentenza Records. Beyond that, they lack the intangibles that made Fink and Co. Translation: far from foundation-shaking, but solid for a listen or two. As is customary with Plastic Idol.

Regardless, the two tunes on the A-side are tailor-made for the one-sided 45s of yesteryear, which should be taken as a compliment. Do I really need to explain to readers of this fair site what the Intelligence sound like? Probably not, but these songs are closer in sound to the current version of the band, with more guitars than keys, than they are the bedroom project that the band used to be.

Yes I said damaged. Damaged in the way that it sounds like they wrote these songs, and they were all shiny and new, and then Lars and his crew had at them with an assortment of blunt instruments and demolitions-grade plastic explosives. So the end product sounds something like a beat-to-shit brand new car. Know what I mean? The fuck you do. Did I mention the B-Side is a blowed out opus called "If I Had A Hammer", during which Captain Finberg comes very very close to sailing the good ship Intelligence directly in the Sea of Cacophony, but instead just skirts its edges as he essentially does during the entirety of this EP?

Novices could claim this unlistenable sludge, but you pros will think this is the real deal in next-wave song demolition. Well, I like it when they reel it in a little bit and let the song peek it's a head out on occassion. Which only happens here for a second or two. Scum stats: Spanish import, copies. Despite not knowing how to play their instruments, the band started practicing and eventually filled out their lineup when they met a likeminded fellow named Jorge to join on vocals.

Far from being a release whose only value is of historical importance, Los Invasores EP is as essential as any other release in recent memory.

The songs are catchy buzz blasts of pure punk melody. The final song has a rougher sound, bordering on hardcore speeds, and though not as melodic as the previous tunes is no less memorable.

Los Invasores is yet another example that punk rock was a global phenomenon with the ability to produce great music in even the most unlikely of places. Skip Jensen "Honey Child" EP A few exclusive outtakes from the sessions for the 'Abscond' LP, and it's a similar bunch of tracks of Skip's renovation or reinterpretation of Delta-like blues, as played by a Canadian white man. I'm a fan of his more traditional sounding approach to the one man band thing at times, but nothing here seems as good as anything that appeared on the LP.

Three songs, a by now long-gone colored vinyl variant, and not Skip's best outing. Musically, Los Kikes are as mixed up as their English, but like the lines above, you pretty much figure out what they mean.

On their debut releases, these guys have taken the past 20 years of punk and metal, bled the pop and emo out of it, and then shoved it into a massive echo chamber. What results are songs that sound influenced by both Venom and the Mummies at the same time.

There a moments on this CD where the reverb is so strong that it nearly destroys what structure there is of the song. Add to this mix a drummer who either deliberately or not drops beats and Los Kikes become even more demented. And the dementia is not forced. It is natural in the way that the stanger bands on TAM 89 releases are. Because this sounds organic it also escapes being disjointed.

I've listened to this three times through and it makes me shake my head in disbelief every time. If that doesn't make you interested, how about some parting words from Los Kikes. The absolute wah-guitar overkill and totally reverbed-the-fuck-out vocals are borderline ridiculous, but in actuality this jam is a total dick-kicker. Drugarage rock? Basement psych? I don't know, but it's fucking heavy duty. Dickie Christgau say A-. Scum stats: copies seems to be the usual run for Perpetrator releases, please correct me if I'm wrong.

A rare miss from the fine folks at Goner Records. Six songs that all stand up well, and are all weird and rocking in their own way. Great no-fi shit that avoids the humdrum by switching the instrumentation and pace around from song to song and adds some odd touches. Vocals are largely unintelligible, but it works. Quite promising. If I were to start a label that issued 8" lathe-cut singles in editions of 35, this might be one of them. Bobo, Nick D. Ray, and Shawn Cripps, and on this record they make meandering and primitive downer-rock with a shot of the blues that just doesn't go anywhere at all.

There are two "songs" on this, very loosely played and very murky. Some instrumental interludes round out the sides. It just really doesn't move much, they stumble around and into some songs and grooves, and evoke a dark Southern mood, but not much else. Sounds somewhat incomplete, like they only half-wrote the songs and ad-libbed the rest. If that's what they were going for, they did it. As it stands, I can't recommend this at all. Scum stats: copies. The single-guitar attack has snarls eerily reminiscent of early-era Saints, but the rhythm keeps it from veering off to unabashed punkdom and into something more straight and bluesy.

How original! Go ahead guys.. They sound pretty shitty, like demos usually do. I could see releasing this as a teaser before the LP came out, but releasing it after the fact seems odd. If you own the LP, you don't need this. If you don't own the LP, you don't need this, you need the LP. Scum stats: pressed, which are surprisingly all on black. Whatever the case, this last remaining live document of Alex with the late Chris Playboy delivers. Run with that any way you chose I can see it , but the predominant vibe this LP gives off is not that of a teen wunderkind strutting her stuff.

In contrast, this sounds like a BAND, which is probably the biggest compliment a two-piece can receive. The mood is far more playful than anything heard on a Hot Machines or Red Orchestra release, with Alex and Chris pulling equal weight in their channeling of both sharp pop and rave-ups. On their second I was a little less enthusiastic, but still interested.

With this, their third single in less than a year, I'm getting a bit less enamored with the whole thing. Looking back, these three singles could probably be condensed into one fairly killer EP. Too much too soon, perhaps? Anyway, I still think it's a funny idea, the whole future punx gimmick. If you've seen any of the lyrics, they are legitimately hilarious at times.

Ryan and Wendy are a good songwriting tandem. And they've managed to do something interesting with a keyboard-heavy band. On this one, "Growing A Friend" ".. I hope he's not an asshole I'm interested to see where they take this next, as I think they've kind of painted themsleves into a creative corner here.

It's all starting to sound the same. Scum stats: on white, on black, nice looking screened-on green paper sleeves that are not for minors. Second press has white sleeve and green vinyl. All four songs here, including a Loli and the Chones cover, are uber-catchy and well worth your money. Their second single with songs exclusively about girls with disabilities did I forget to mention these guys have class? Night Creatures "It's All Good" CD-R I've come to enjoy getting demo CD-R releases, at least when a band takes enough time to make unique covers and sends a letter along asking what you think of their band, and that band actually somewhat fits into the scope of what we cover at TB.

It's much better than receiving a mass-produced "punk" CD from some anonymously shitty "indie" label with a photocopied one-sheet containing blurbs from the Wichita Sun Times telling you how they are "a mindblowing punk rock act that will make you think of the Stooges and Clash". Those are the worst. That being said, even the unique little CD-R releases aren't that hot sometimes. I imagine they are kids just starting out, but regardless of that fact, these songs are definitely not fit for human consumption.

Especially the last one where the bass player sings. But, I guess that's what demos are for. Keep trying kids. Not just a one-off! Like their first EP, this is a single I can spin endlessly and stare at in disbelief.

The entire EP is a tribute to the trashed teeth, attitude and look that is resultant of habitual powered narcotic usage and I commend them stabbing at the cocaine elite. Get your skinny ass away from me! They had a big winner last year and this one, though not as immediately pleasing, serves as a worthy follow up. Not quite sure what pressing variations exist with this one, but the hysteria caused by EP 1 ought to repeat once the dissection begins.

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Archbishop Wood (PA) vs. Our Savior New American (NY) - Slam Dunk to the Beach - 12/29/18 - Duration: 1 hour, 15 minutes.

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