34 Oct 3rd-Oct 9th, 2024 phoenixnewtimes.com PHOENIX NEW TIMES | NEWS | FEATURE | FOOD & DRINK | ARTS & CULTURE | MUSIC | CONCERTS | CANNABIS | “underdog Mesa” vibes are present across the entire 13-track record. And while this shouldn’t matter, cuts like “One More Minute” and the title track were big-ish hits that brought attention to the scene in a really authentic way. Authority Zero have always done things their way no matter how singular that was, and that’s the true defi- nition of our city. Don’t like that? Kick rocks. Sun City Girls, ‘Torch of the Mystics’ The real ones always mention Sun City Girls. Anybody who doesn’t think they’re a vital part of Valley punk likely hasn’t heard 1988’s “Torch of the Mystics.” Someone once called this the band’s “most popular and revered” record, and rightfully so. The band seem to actively enjoy messing with listeners, offering both deluges of experi- mental junk noise and some rather slick garage rock. But you must embrace this discordant stew head on, and if you do, you’ll find a record that rewards your enthusiastic engagement with songs that take punk, stretch it into a million direc- tions and offer something that’s somehow more raw and affective then either. It’s never an easy prospect, but there’s a power to fighting with this robust record to unlock its secrets. All hail the weirdo kings of Phoenix. Meat Puppets, ‘Monsters’ When it dropped in late 1989, “Monsters” was regarded as being especially heavy and robust. It was as if Meat Puppets had gone from mere flirtation to fully embracing metal. But with a deeper, more discerning listening, the 13-track affair is a touch more compli- cated. Sure, there are massive licks and over- bearing ferocity across the 60-minute runtime, but the band remain as hungry and inventive as ever. They’re focusing that curi- osity and wanderlust through metal, and from that process, “Monsters” is louder and more undeniable than some of the band’s other preceding LPs. But once they have your attention, there’s textures and nuance that makes “Monsters” feel intriguing, playful and maybe just a touch unknowable or myste- rious. Come for the licks, stay for the swel- tering magic. Gay Kiss, ‘Fault’ From winter 2009 to summer 2017, Gay Kiss repped the Phoenix punk flag something fierce. They toured across the U.S., got some decent media coverage and made truly interesting hardcore/noise. Of all their many releases in this period, though, 2012’s “Fault” has to truly stand out. The nine-track, 17-ish- minute LP is short on nuance and subtlety, but Gay Kiss are often unmatched in shredding violently and efficiently. “Fault” is very much a snapshot of the band’s live show, and they smash from song to song with visceral energy, a surprising level of technical complexity and the kind of sonic violence that ignites the brain and sucks you into the nearest pit fist-first. They may be gone, but this record leaves a Gay Kiss-sized hole in your head and heart. Jr. CHemists / Les Seldoms, ‘Arizona Disease’ You may come to this record expecting something familiar from Michael Cornelius, bassist for JFA. But Jr. CHemist’s contri- bution to “Arizona Disease” typified that band’s low-fi, extra nerdy approach to No Wave, as if it was recorded by the A/V club from the most stereotypical John Hughes movie. Meanwhile, Les Seldoms had a more SoCal-inspired take on punk, and one that tried to be spirited and joyous amid its mini- malist tendencies. On the one hand, both bands had enough in common aesthetically to make this split a great representation of the weirder sides of the Phoenix punk scene. But they’re also quite different, and there’s something extra intriguing and entertaining about exploring the dynamic between the two sides. No matter why you spin it, the end result is the same kooky punk bonanza. Yellowcake, ‘Can You See The Future?’ Released in June 2022, this is the single youngest album on the whole list. Does that mean it’s somehow less punk than all the others? No way, as Yellowcake’s brand of “raw punk” is clearly tied to the past. You can hear those vintage strands informing much of the seven-track effort, and there’s an overt power that’s very much rooted in a tried and true approach to D-beat. At the same time, Yellowcake bring a new, more sharp kind of anxiety and creative intent to this LP, and it updates all of those old-school vibes and sounds with something decidedly refreshing. The final result, then, is an LP that leans into and against nostalgia, and that extends the album’s themes of modern nihilism and socio-political decay. It turns out that we can, in fact, see the future, and Yellowcake are modern-day pioneers. Controlled Bleeding / Maybe Mental, ‘Halved’ At eight songs and 40 minutes total, “Halved” has got to be one of the longer of Placebo Records’ 1980s catalog. But you need all of this room when you’ve got two massive bands like Controlled Bleeding and Maybe Mental. For their three-song contri- bution, Controlled Bleeding take a more solemn approach to noise, distilling every- thing down to a series of spooky moods and hushed air crackling with layers of intent. Meanwhile, Maybe Mental employ more gimmicks and sonic tidbits to shock and disorient for songs that toe the line between a film soundtrack and the soundtrack for a haunted house. But don’t just listen to one side, as the entire album will rip and tear at you in the best, most interesting ways. It’s not “traditional” punk by any means, but this is a masterclass in what Placebo did so well. Make It Loud from p 32 Phoenix punk icons JFA. (Photo byMarilyn Szabo)
