DBCR

DBCR also recently released some material in the form of the down and dirty Bikes/Reverse Broken Windows Theory 7". Listen to one of the songs, "Reverse Broken Windows," below. - Brooklyn Vegan

"Fuck, where's the bong when I really need it? This shit makes me wanna pack it up and blaze away. I've never heard of these guys before (one of them used to be in Awkward Thought, if that's worth anything to you.) but they are totally channeling the 90's northwest grunge spirit. The A-side is an upbeat song ala Dinosaur Jr. kinda similiar to that SUN GOD EP that came out a couple of years ago. Side B slows things down to a dirge-y MELVINS style slog. Lyrically the two both seem to convey the fuck society outlook rather effectively." - MaximumRockNRoll

We do this every Tuesday. You’ll see this week’s #1 song on our Best 100 songs of 2009 list at the end of December, along with maybe some of the rest of these too. This is strictly for fun – it’s Lucid Culture’s tribute to Kasey Kasem and a way to spread the word about some of the great music out there that’s too edgy for the corporate media and their imitators in the blogosphere. Pretty much every link here will take you to each individual song.
The band name stands for Drunken Belligerent Confrontational Rock. They hate trendoids, gentrification and they have Jason Victor from Steve Wynn’s band on guitar. - Lucid Culture

Ferocious New York punks DBCR release what looks like their debut 7? on their own terms. In case you were wondering, DBCR stands for “Drunken Belligerent Confrontational Rock.”

It’s not everyday we encounter a band name that’s an acronym, but this one just seems too fitting. And while it is fitting, it’s also somewhat of a turn off because it makes these guys sound like drunken buffoons if you didn’t know any better. But putting that aside, DBCR play blazing and angered punk, featuring all kinds of bloodcurdling screams with barrels of pent up rage to spare on the side. Neanderthal-like vocals combine with their fiery zeal and the results are pretty disastrous and as it’s happening you can’t help but think it’s all part of their evil scheme. Within the last minute of “Let Them Eat Bikes” they break the song open with some nastily invigorating guitar work, culminating into quite an epic and destructive three minutes.

While that A-side definitely shows one side of the DBCR sound, the B-side nearly makes them sound like a different band. They slow it all down and lay off the speed, trading in those wonder drugs for dirgy downers in this heated underworld of a song. Menacing and springy bass lines trudge along in the magma-laden depths, helping to create a dirty element in their sound as the guitars create a cloud of heat that will singe the eyebrows clean off your forehead. As they approach the final minute, they begin to pick up more momentum before the track finally comes to a screeching halt.

If you’re looking for a rush to start your day, go with the hectic “Let Them Eat Bikes” below. If you’re feeling a bit more lazy or unfocused, go with “Reverse Broken Window Theory” for an easier listen. Either way though, you really shouldn’t miss any of these! - The Styrofoam Drone

Although I really have no confirmation other than what’s already been written in other places, apparently DBCR stands for Drunken Belligerent Confrontational Rock. If that’s the case, I can certainly see why the band decided to go with just the simple DBCR. While the name does a nice job in basically summing up what they in fact sound like, it’s probably best to not really know what those letters stand for. But they no doubt live up to their self appointed description, with the two tracks residing on this single (a 3rd track is included with the digital download). The opener “Let Them Eat Bikes” blasts through with a simple set of rolling riffs that seems focused on decibels just as much as it does its message. On the flip is “Reverse Broken Window Theory”, which slows things down but maintains the same type of approach as the a-side, but without the pacing and immediacy, and doesn’t necessarily ever really get fired up. I would have liked to have seen the track that was included as the extra in the digital download to have been the actual b-side here, as “Minor Thoughts” while being roughly six minutes sort of accomplishes the bad vibe noise-rock feel that was kind of missing from “Reverse Broken Theory”. Despite the indifference toward the b-side, there is plenty that I am digging here and if there is more to come I sure hope to here it. - Built on a Weak Spot

What better way to answer the question "So, uh, what do you guys sound like?" than with your bands fucking name? DBCR, an acronym for Drunken Belligerent Confrontational Rock, is all that and a bag of dicks.
On the bands debut two song single they come out of the box like a bull at a rodeo. Laying waste to everything and everyone in their path.
The song 'Let them Eat Bikes' opens with a driving guitar sound that instantly fires you up even before vocalist (if you even want to call it that)
Michael Braverman charges in with devastating results. The song is relentless and catchy as hell.
The B side, 'Reverse Broken Window Theory' starts off slower but has the same driving effect, sending the listener into a complete downward spiral. Overall it's a cool balance that makes the record to good to pass up. If you want something that just plain rocks and might remind you of a cross between GG Allen and Sheer Terror.
I highly recommend it. - United By Rocket Science

Five (5) guys that sound like two (2) guys release two (2) songs, and one (1) more on the included digital download. This is one of the stronger selections to come through in a while, just based on the lyric sheet: “Let Them Eat Bikes” in particular is a worthwhile response to gentrification, greenways, and the colonialist tendencies of the unaware, well-meaning left, particularly in the inner city (“Why can’t I take my lifestyle everywhere?”) But there aren’t really good answers provided by these guys, only a complaint, shouted out like some sort of boho D. Boon on the A-side, and completing the Minutemen comparison with frantic rhythm guitar strum. Then they’re crooned like an off-off-Broadway Glenn Danzig on “The Reverse Broken Window (Part 1),” another punk/crust diatribe set to a slow, dumb dirge and snarling back to life like Girls Against Boys tuning up towards the end. I don’t like the delivery of this, but the band could get better. I would assume they’re all down at Occupy Wall Street right now, if they’re not playing the basement at Lit. (http://www.dbcrmy.com) - Still Single

This single came in from Kenneth with a nice note on the reverse side of a miniflyer to a show DBCR played at the Charleston. This kind of dirty punk rock (that's recorded really separated and clean) has been living in that basement for years.
I was talking with someone outside Death by Audio the other day about how much the surrounding neighborhood has changed, and I have the same sentimental feelings about The Charleston, I hope it somehow sticks around for a while. A lot of friends and great bands have passed through, metal and otherwise, playing the low ceiling, full of kegs basement. I don't feel like I'm even in the city anymore, it's someone's random punk house in the middle of nowhere. The single from these guys makes me feel the same way, I'm glad they exist, this kind of enthusiastic DIY punk that made spaces like ABC NoRio possible.

The A-Side of this one, "Let Them Eat Bikes" is that DIY call to arms, do something about this bullshit... a sarcastic chorus...lay it all out: denial of human rights, people living with AIDS....well, they can all eat bikes, which I guess is to say all the hipsters are giving up their fixies for food? Or the green environmentalists are trying to solve these problems with bikes, when we need some armed resistance instead? DBCR has a fast, hardcore wrist shaking riff under the near growly vocals, all bulging neck veins, grabbing the mic. You can hear they're putting everything into this. The channels are real separated here with the two guitars working practically on opposite sides of the fence. Dense protest lyrics, on one hand I really hope these guys are making some noise down at Occupy Wallstreet but they've probably been disillusioned years ago. You think a couple of tents are going to make a difference? So you're stuck in that Suburbia dilema...to bitch or not to bitch?

The B-side has a slower dirgey Dead Kennedys feel, when Jello would get extra creepy, singing in a cartoon elf voice about blackmarket organ sales. Slow picked distortion, a couple of dissonant melodies, half stops and more of those alientated lyrics...I appreciate this kind of protest and I also think it's pretty great they get to do it in the first place without actually being a target of the man. They're taking that mix of politics and punk headon....in a lot of ways they're already intertwined, but it's a fine line of ruining the message altogether. I don't know too many band that want to attempt it...even if it is the perfect historic time. You get no arguement from me about the 1%, but I still feel guilty that I even have the opportunity to bitch about it when I think about the rest of the world saying, "you america....you are the fucking 1%".

So to be stuck in the dark basement having your eardrums blown out with a slice of free Charlestpon pizza in your hand and a cheap beer in the other you can sort of maybe just appreciate that you have it pretty good after all. Sure, there's room for improvement, but you can go see DBCR and think about it.

On black vinyl, massive 7x7 b/w cardstock insert and download card... listen to me the collector scum I am.
Get it from their bandcamp page. - 7inches.blogspot.com

This is old fashioned, loud hardcore. It’s piercing, a little sloppy (in the best possible way) with a vocalist screaming himself hoarse. DBCR roar through “Let Them Eat Bikes” as they channel their inner Agnostic Front without the more recent metal tinges. The raw, aggressive energy is infectious without simply formulating a retread of hardcore’s past. The B-side, “The Reverse Broken Window Theory” begins more slowly than its predecessor, but it is far more menacing and dark. Rather then capturing hardcore fury, vocalist Michael puts on his best Danzig voice while throbbing bass and rugged guitar drive the song. There is even a guitar solo that is abrasive and raw without even becoming self-indulgent. This one is a fresh New York gem. - Jersey Beat