24 March 2007 Larrylivermore.com
Welcome To The Bronx

So declaimed Grath McGrath, lead singer and guitarist for the Steinways, midway through their set at the Bruckner Bar and Grill, tucked away under the Willis Avenue Bridge in an obscure (well, to me, anyway, and to most of the people with me) corner of the Bronx.

I didn't get the impression - though I could be wrong; it has been known to happen - that Grath himself was a habitué of the Bronx, so I'm assuming his "Welcome to the Bronx" crack as meant to be ironic, spoken as it was to an almost entirely white and middle-class crowd of pop-punkers. But then it's always dangerous to assume, so I'll just say, "Thanks, Grath, it's good to be here in the Bronx tonight," even though it's now a few hours later and I'm not anymore.

The show was put on by one Dan Crafty, of Crafty Records, himself a Bronx boy, though of the City Island variety, i.e., not the Bronx of incinerated housing projects and feral crack gangs, if indeed that Bronx exists anymore. I wouldn't know; I'm a bit ashamed to admit that my entire experience in the Bronx, apart from driving through it once on my way down from New England, has consisted of one flying visit almost 40 years ago, where I got off the subway at the Grand Concourse station, jumping back on the train before the doors closed, just so that I'd be able to say that I'd set foot in all five boroughs.

Taking advantage of our ignorance, Crafty Dan put out what could be construed as a slightly misleading flyer, claiming that the Bruckner Bar and Grill, a lone outpost of gentrification in a neighborhood that could probably do with a fair bit more gentrification before anyone noticed it had happened, was practically within sight of the "first subway stop in the Bronx." In other words, it was hardly like going to the Bronx at all, more like a neat little corner of Manhattan North that had by some accident of geography been left on the wrong side of the Bronx divide.

Well, Mr. Crafty was indeed being economical with the truth; the bar was nowhere in sight from the subway, and we (I started out alone, but accumulated Bill Moon and Jim Jersey Beat at various points on the 6 train; nothing to make a guy feel at home in the big city like friends randomly getting on the same train he's on) wandered the streets in a befuddled fog, at one point soliciting directions from a genial policemen, and when even that didn't deliver results, from a local girl who gave us the once-over and said, "Oh, you looking for the bar?" as though there were nowhere else in the neighborhood that a pack of clueless-looking gringos would be going.

So it turned out to be more like five blocks than one from the subway; as Crafty Man freely admitted afterward, nobody would have come if he'd put the actual directions. Never mind; we were there now, and got to watch Project 27's Weaselcore, the Steinways' punk rock classics in the making, Phrank Martian's Nancy, down from Binghamton (I always want to remind him that Binghamton is the place where our van broke down on the way to Woodstock in 1969, but that veers rather precipitously into old codger territory, nay, old hippie codger territory, which is far worse), and finally, playing their second show of the evening, the Unlovables, who were celebrating the release of their new album and who were in top form.

The night was supposed to be a battle between New York and New Jersey bands to mark the release on Crafty Records of a new CD based on that theme, but none of the Jersey bands showed up (unless you count Mikey Erg as a one-man band, which probably wouldn't be inaccurate, but tonight he was playing for the New York-based Unlovables and not the mighty Ergs, the other two of whom, I understand, were off bowling or something. On one level it was nothing out of the ordinary, just a good, all-round pop-punk show, but on the other hand, it was interesting and gratifying to see how many more people were turning out than would have for a similar show a year or two ago, even though it took place slightly outside the bounds and comfort zone of the usual pop-punk scene.

I remember haranguing Jonnie Whoa Oh a few years back about how the then-dire state of the New York scene was entirely down to him: if he and a couple of his friends didn't take things in hand and make them happen, it would just shrivel up and disappear. Not to take a thing away from Mr. Whoa Oh; he's done a great deal first to keep things alive and later to keep them growing, but it was significant in a way that Jonnie wasn't even there tonight - due to illness, apparently - and the show was still a whopping success. There was a time, not so long ago, when if Jonnie Whoa Oh wasn't there, not only would the party be missing much of its life, it would also be missing about 10% of its audience.

Things have changed, if not enormously, at least significantly for the better. Now for the first time since the glory days of the late 70s, people are starting to look at New York as the place where great punk rock and pop-punk comes from. People are even moving here to be near and/or part of the scene. I remember being amazed when kids started showing up in Berkeley back in the late 80s, attracted by the whole Gilman thing, and now I get the feeling it's happening here. Tonight the pop-punk revolution raised its flag, however tentatively, over one small corner of the Bronx; a rush and a push into Staten Island and it will be proudly unfurled over all the five boroughs, and once that's happened, what distant outposts will be left to conquer? On to Yonkers and Poughkeepsie!

Battle began minute state lines were drawn. But feud over land and water rights was eventually settled. And, three hundred years later, most would assume flared tempers have cooled, that finally New York and New Jersey have learned to get along. Yet one glance at separate skylines tells different. Amidst rising mingle of New York car-smog and New Jersey coal-smoke hides silent steam of smoldering hatred. Ask anyone from Jersey. Anyone from New York. Old hatred stands. Rumbles from gut. Real reasons are never known. And don’t ask me. I’m from Pennsylvania. Hating us is only time states agree.

No one from New York ever wants to drive to Jersey. People from Jersey hate venturing to New York. And yet, since punk’s puking birth, (and we all know which state claims conception) states have swallowed pride. Bored with home state shows the two scenes forced loose alliance. In recent years glue has thickened with proliferation of like-minded bands on both sides of state line. New York offers Jersey cramped apartment shows and shiny clubs. Jersey offers dustier clubs and historically drunk basements. Shared shows and bottles tighten friendships, blur state lines. West coast observer stumbling upon New York/New Jersey show, unaware of historic war, would see only one loving scene. But between songs, if open eared, they might catch hint of rift as microphones are wielded knifelike for stabs at opposing state. Even at shows end, as interstate scene drunk embraces, neighbors fear knife. Never sure when feud will flare.

It was out of this schizophrenic friendship that Crafty Records struck upon the compilation you now clutch. Eight bands that help form cornerstone of New York/New Jersey scene. Four of Jersey’s best pitted against New York’s strongest. A punk rock battle royale aimed at quieting waters, settling feud forever. And yet, all slugging, stabbing, and spitting aside, there is love beneath choppy waters. All bands have shared laugh and stage and bottle. And all burst at seam with thought of sharing compilation. Still, gloves are not forgotten. They are on.

Typically, advancing army first sends dumbest, weakest, most expendable troops into battle. Jersey does opposite, placing The Ergs! in front ranks. To deliver opening blows of burgeoning battle. They have unfair advantage. Are given upper hand through espionage. Mike Erg! is double agent. Constantly crossing front lines to drum for New York’s Unlovables. But don’t distrust state loyalty. His sticks may lie across state lines, but his heart’s in Jersey.

I admit fault. Each time I typed New York I was secretly thinking of New York City. Sadly, New York City is a tiny sliver of land that is responsible for most impressions of the entire rest of a gigantic state. Lemuria, however, are not from New York City. They are from Buffalo which, unlike New York City, is nowhere near New Jersey. It’s possible Lemuria don’t even hate New Jersey. And yet, when Ergs! attacked, Lemuria didn’t hesitate to strike out in support of New York comrades. They do so softly. But with just as much pop perfection as rest of state.

So far fight is clean. Then Jersey sends Hunchback to grime battle, aim below belt. A Hunchback live show confuses. Their cross-dressing leaves most assuming they wandered off New York City streets, not out of Jersey factories. But, once amps liven and sweat sprays, image is betrayed. Hunchback are relentless warriors. Shaking foundations of most hated state. Leaving it quivered atop pile of feedback and rubber masks.

New York counters sweat of Hunchback with sugar of The Unlovables. Despite presence of spying Jersey drummer, the Unlovables are staunch Jersey haters. They even spat on it in lyrics from last album. But, one ear of lead singer Hallie’s sugar-shocked vocals and another of bands walloping hooks and no New Jersyian can hold grudge.

Jersey fights wallop with Groucho Marxists. Most notable for songwriter/guitarist/vocalist Christopher Gobo Pierce, who was playing in New York-bashing Jersey bands before Ergs! were old enough to cross state lines. But, despite years of smoldering distrust, Chris isn’t opposed to recording New York bands at his Jersey studio. Discover New York band that dared record in Jersey for this very compilation and have ammo to launch at next show.

Like Lemuria, Nancy aren’t from New York City. But Binghamton is a little closer to Jersey. And perfect tour stop enroute from there to Buffalo. The show is probably in a molding basement. Nancy is surely playing, set up the show, bought the beer, and hid some weird porn in Jersey’s van. Small act of guerilla warfare in ongoing struggle. Nancy continue subterfuge with two sneak attacks.

For Science squawk out of New Brunswick, NJ. Land of toilet-despised grease trucks where band scarfs French fry-chicken-finger-bacon-burgers before crossing to New York, ruining enemies’ ears and toilets. Their city is also home of historic basements. Most graffiti drenched, all of it hating New York. Years of pissing by scrawled walls has lent For Science litany of verbal spew to spit at hated neighbor. Hear it here.

If I were picky I’d have tracked down birth certificates for every band member. I know for fact that one member of The Steinways isn’t true New Yorker. He isn’t even from Jersey. He’s from Maryland. But they are all from New York right now. And they fucking hate New Jersey. Festered dislike is launched in Steinways’ infamous blitzkrieg attack. Launching final blows in a sixteen song battle royale that, no matter the victor, should have, at the very least, defeated you. Sending head-bled and babbling in streets. Tossing money-stuffed letters at postman. Addressed to New Jersey and New York. Tracking down everything every band has recorded.

Now you wield weapon. Take step in ripping at state lines. Dial up craftyrecords.net, vote for two favorite bands from each state. Winners will march forward to next round: two singles again pitting state against state. Only two bands will stand tall in final floating dust. To be pressed on one split single. That will be hung on their Governor’s walls, presumably with opposing state’s side scratched to hell.

-Lew Houston


REVIEWS:
Jersey Beat-
POP PUNK BATTLE ROYAL: NEW YORK VS. NEW JERSEY (www.craftyrecords.net) This CD pits NJ's Ergs, For Science, Groucho Marxists, and Hunchback against NYC's Steinways and Unlovables and Upstate NY's Nancy and Lemuria in a mock battle of the bands for pop/punk supremacy. All the songs are original to this release, which is both a blessing and a curse: It's great to get a comp like this with songs you've never heard before, but as the Ergs will readily admit, their two tracks are little more than throwaways, as are a few of the others. What's really annoying however is the general sloppiness and slapdash quality of the CD itself, from the amateurishly-colored artwork to Lew Houston's rambling, often incoherent liner notes, to all of the typos, inconsistencies (is it Battle Royale or Royal?) and mistakes (the titles of Nancy's songs are reversed, for example.) Those concerns aside, there's a lot to like here: Binghamton's blustery Nancy changes speeds for both a slow and a fast song; NYC sweethearts the Unlovables offer two first-rate tracks ("Jersey Boy" ranks as one of their best songs ever;) Chris Pierce's Groucho Marxists toss in an updated Descendents-y crunch; and the sweet female-fronted Lemuria stand out as highlights of the comp. New Brunswick's For Science and Hunchback represent the spazz-core basement-show scene, while the Steinways grace us with "Always Never" (sung by Ace,) which boasts a classic pop/punk hook and an irresistible chorus. If you've been hearing about the burgeoning pop/punk revival in NJ and NYC but haven't actually heard any of the bands yet, this isn't a bad place to start checking things out; and if you're already a fan of this scene, there are more than enough "must have" tracks on this comp to warrant the purchase. - Jim Testa

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Razorcake Magazine-
New York Vs. New Jersey Punk Rock Battle Royale!: CD
I’m so torn on this. On the pro side: this is a great comp. The point is to listen to the songs (with bands from both states, including The Ergs!, Unlovables, Hunchback, Steinways, and more) and vote on which ones you like best (with the winning bands from each state doing another 7” of their own, and will then “square off” from there so to speak). It makes this more than just another product for people to buy, offering incentive for people to really take some more interest into this sort of thing. It’s very Minutemen-esque in my opinion. On the con side: I’m going to have to listen to so many New Yorkers telling me why they’re so much better than everywhere else in the world, it’s not even funny. –Joe Evans III (Crafty)

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New York vs. New Jersey: Punk Rock Battle Royal
http://www.scenepointblank.com/reviews/1352

Throughout the 90's pop-punk was an essential part of most punk and hardcore kids' record collections. Even those whose tastes leaned toward the heavier side of the underground spectrum had a special place in their heart for certain Lookout Records gems. Throughout the early 2000's it seemed that the pop-punk of earlier years had been replaced by a soulless, overproduced version that could achieve radio play and ensure bands spots on lucrative tours. It was only within the past year that I realized a new breed of pop-punk bands with a sound closer to the Lookout glory days were starting to fully emerge fueled by labels such as Crafty, Don Giovanni and Whoa Oh Records as well as distros such as Littletype.

New York vs. New Jersey: Punk Rock Battle Royal serves as a great introduction to the current pop-punk scene. It features eight bands, each contributing two tracks. The battle royal concept entails listeners voting on Crafty Records' website to determine which bands will be featured on an upcoming 7" release. The Ergs, Hunchback, Groucho Marxists, and For Science represent New Jersey, while Lemuria, The Unlovables, Nancy, and The Steinways hold it down for New York.

The Ergs are likely one of the more well known bands on the compilation and deservedly so. They sound like the rightful heirs to the Descendents throne, replete with songs about girls and bass lines that echo Tony Lombardo at his best. The tracks featured on this release are solid, but might leave those who have heard the hype (and still haven't heard the band) a bit disappointed, as they are a half-step below their best material. Those doubting The Ergs' greatness should check out dorkrockcorkrod to fully appreciate their talent.

Lemuria offer up two tracks that are among their best. Sheena Ozella has a gorgeous voice that compliments Kern and Draper's vocals much like the magic of Juliana Hatfield alongside Evan Dando on It's a Shame About Ray. They blend elements of mid-90's alt rock with a pop-punk tone to create a sound that stands out within the genre. These tracks are going to leave people anxiously awaiting a full-length.

Each of Hunchback's songs sound very different. The first is rife with organ parts and rock n roll based whereas the second is frenzied with weird vocals. Both songs are unique and left me interested to hear more.

The Unlovables didn't hit as strong as some of the other bands on first listen, but after repeated plays I find these tracks among my favorite. Hallie has a powerful voice and the witty charm of her lyrics on "Jersey Boy" is on par with the best lyricists in pop-punk.

I've enjoyed other songs by the Groucho Marxists, but these tracks don't hold up to the songwriting featured on the rest of this comp. They are technically sound, but didn't move me.

Nancy sound like a band that would fit in nicely on Asian Man in the late 90's. I hear elements of The Broadways and early Lawrence Arms as well as a bit of the poppier moments on the first two Propagandhi records. The songs feature incredibly melodic parts mixed with leads that serve to enhance the emotional impact of the rhythm guitar and lyrics. These tracks are essential post-breakup material, high praise for any pop-punk band.

For Science play fast, gruff and snotty pop-punk. These songs are in the vein of earlier Screeching Weasel and The Queers material. They aren't forging new ground, but they play the snotty pop sound well and fans of this style should enjoy this.

Much like The Ergs material, I suspect these Steinways tracks aren't fully representative of what their albums sound like. The first track sounds like straightforward Lookout-era pop-punk, while the second is a variation of the song The Ergs play to open up the comp.

The bottom-line is that this is an excellent compilation for anyone interested in a sampling of the quality bands comprising the current pop-punk scene. If you have ignored the genre in recent years for fear that the classic sounds from the 90's were gone for good, you'll be happy to learn that now is a great time for the genre and the current crop of bands aren't simply rehashing what came before. This comp showcases bands that have taken the time to forge their own sound and unlike a lot of compilations that feature throwaway tracks, the bands have provided quality material that, for the most part, represents their respective sounds.