Fuzzgun Records compilation CD presents Houston-born bands
nothing is cool features well-established local acts as well as bands that have yet to emerge. While some of its numbers lack major-label studio polish overall, this disc's only fault is that it contains sophisticated melodies minus rock radio choruses.
The album's first few songs make it clear this is no KRBE/Blue Planet crapilation. bo bud green marries the CD's most addictive guitar hook to bizarre lyrics; then they turn up the volume. Train in Vain, who has released multiple albums and seem ready for the big time, plays tight, loud music in the mold of Dinosaur Jr. Muted, high-pitched lead guitar and pensive lyrics puncture their remarkable layer of noise.
The Groms and 30footFALL, among Houston's best-loved punks, are here as well: 30footFALL sings and plays "Damon's Song" at a frenzied pace without compromising on technique. With start-stop rhythms, smart-alecky lyrics and overblown choruses, this is the kind of band every mosh pit would like to own. The Groms have a cleaner, old-school West Coast sound while Poor Dumb Bastards might well have come to Houston via time warp from circa-1977 London. "The Rules," with its sped-up '50s rock 'n' roll premise, would have been a great B-side or album track for the U.K. Subs or the Damned.
Imagine That and Monster Soup provide two of the album's best songs, in what I'll describe as a punk-crossover style. Imagine That is a group based on a handful of bass chords; what really drives their music is lyrical imagery and shifting tempos. "Hell No" is a powerful, almost theatrical song; Imagine That has picked a winner for this compilation (they also seem more polished on disc than when I last saw them live). Monster Soup's "Undertow" is well described by its title. Rhyme and well-sustained lyrics urge this rollicking bit of ear candy forward, although it, like a number of these songs, could be a lot tighter.
Rubbur, Kaleb, Mumbletypeg, Spunk and Blueprint turn out satisfying, if unremarkable efforts. Clover's "Under the Surface," which pushes the raw, angst-ridden vocal technique too far to cover up the need for a better singer, and Manhole's "Uncle John" (this band reminds me of Big Stick, if that means anything to you) grated against my musical senses.
Bleachbath's "Hit the Sun" reminded me of a '60s mod anthem. The group pushes its emotions to the limit before retiring into a lamenting, laid-back solo and then finally bringing back the noise.
Non Stop Bombers and God Dog lend variety to nothing is cool . The Bombers' self-titled track relies on a heavy bass riff before breaking into a taunting invective, à la the Beastie Boys. God Dog is well known around Houston, and "Seymore/Can Man" is a solid offering. This smoldering, strutting blues tune owes more to Vince Neil than it does to Muddy Waters, but it's hard not to enjoy.
nothing is cool , like most compilations, doesn't have a coherent theme or message, but it does contain a lot of good songs. The best way to check these bands out is, of course, to go see them at Houston's rock clubs, but this disc is a solid introduction.
This item appeared in the Opinion section of the December 8, 1995 issue.
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