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One of the more remarkable bands of the past five years was Mexico’s XYX, who’ve unfortunately hung up the spikes and the delay pedals. Their first EP on S-S Records was a real brain eraser, a bass/drums-only frantic panic attack with female vocals and distorted reverb from here to Moldava. That was followed by a second (lesser) 45, a quick couple of jaunts into the USA for live shows (one of which I was fortunate to see, in San Francisco), and then a posthumous final LP, “Teatro Negro”, this year.

Anhelo Escalante is a phenomenal frontwoman and bassist, a whirling ball of energy with a spat/sang manner of pushing out Spanish-language blurts and taunts. Drummer Mou Ortiz is a pounder par excellence. The final record is an 11-song blast that’s half ghostly, echoing noise jams and another half more like that first EP – direct, gut-punch garage noise played at fast tempos. Here’s one of the latter, “Sobrenada”, which also has the distinction of almost having a sort of “rap” vibe to it.

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This morning I listened to a podcast version of a old KXLU show from 1988 hosted by “Adam Bomb” in LA, whom I believe was actually Pat Hoed from the band The Nip Drivers. He “interviewed” ANARCHY 6, the best phony hardcore punk band of all time, which featured the Redd Kross McDonald brothers ripping it up Circle One/Suicidal style.

The interview wears thin pretty fast, although they said some pretty great stuff. They were playing the tiny Anti-Club later that night, and mentioned that it was “the first Gary Tovar show ever held at the Anti-Club”. Tovar and his Goldenvoice concerts were putting on mega-spectacular hardcore shows at the time at the huge Olympic Auditorium and sometimes the Santa Monica Civic.

They also opined that “you have to look fast to be fast”, and so to play hardcore, you’d better cut your hair, hippie. To the best of my knowledge, the show at the Anti-Club that night was the only show the band ever played, and I actually drove down w/ my cousin from Santa Barbara and went to it. It was hilarious.

The band backing up the McDonald brothers were Phil and Dave from SIN 34. They played about 15 minutes, skanked a bunch on stage and in the pit with the rest of us, and at the end Steve McDonald’s bandana was torn from his head and his long hair came spilling out. They kept making jokes I didn’t understand about “breaking Julie out of jail” (Julie being Julie Lanfeld of Sin 34). And they did the song you see here, their only documented online performance, from the movie “Lovedolls Superstar”. Totally, totally ‘core.

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My life has been enriched with the recent discovery of this track, “Plastic Cowboy” by Scotland’s THE YUMMY FUR from 1996. The whole album “Night Club” they put out on Slampt that year is in this vein; crooked, repetition-laden garage comedy with an impenetrable Scottish accent. It’s all good, and this one’s the best. “He dance with Indian”.

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I’ve been fortunate to have been asked to pen some liner notes for the upcoming 20th-anniversary reissue of COME’s masterful “Eleven: Eleven” LP from ‘92. I was sent this scan by the band, from my fanzine Superdope from the following year, to jog my memory. Tempting to do a little cut-n-paste and call it day, but I’ll see what I can come up with in the next hour or two.

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I’d assumed I’d heard absolutely every top-tier, A+ 1960s garage punk song ever created. Sure, there are a few B+ ones out there I might not have heard yet – but jesusBUD & KATHY’s “Hang It Out To Dry”??! What a monster. A+ with bells on.

I’ve passed up the eponymous LP comp this is on for decades because I reckoned it was all C-grade material. Otherwise, I’d have already heard it, right? Wrong.

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Ever had a guilty musical pleasure? Sure you have. In addition to loving early Rod Stewart, various trilling baby-talk songs by Kate Bush and the complete recorded works of Tammy Wynette, I happen to also very much enjoy elements of Omaha, Nebraska party/loud pop/synchronized dance band TILLY AND THE WALL. And I saw them play live last night for the first time. And lo, it was good. 

I almost blew it off entirely, having bought the ticket right when the show was announced, yet before hearing their godawful new album “Heavy Mood”. As I wrote about back in 2008 when I first heard them, they’re probably the most overtly commercial indie-rock band I’ve ever liked, but that’s not damning them. Before their dumb dance-yr-ass-off new disco record with mostly terrible songs, they were a very unique act. Read my explanation here for what attracted me to them in the first place. 

As it turns out, that’s what they were like live, too. All cynicism melted away very quickly. I mean, they throw balloons into the crowd, people! Are you with me? Sure, one of the singers was right out of dumb-rocker central casting: “You guys are so AWESOME tonight, San Franicsco!”. “Oh my god you guys, your town is so AWESOME! Can I move here?” etc. But they played the songs I liked and very little of the new album, and they played them all with zest and panache. A woman tap danced. Their straight-up dance song “Beat Control”, which I actually had to talk myself into not rejecting out of hand when it came out, was great. I stayed through the encore. I’d probably even go again, knowing what I know now. So sue me.