QUAN AND THE CHINESE TAKE-OUTS: “Crazy Pills” b/w “Poorman St”: 7”
First they sent a demo in, it was good, and we would listen to it often. Then they took two of the songs off it and made this 45 on blue vinyl and limited to 100. Motherfuckers, they officially won me over. Quan And The Chinese Takeouts are a band that mixes early New York punk with ‘90s alternative radio; plus they have a synthesizer. I hate two of those three things, but they pull it off. –Daryl (Self-released, benpablo@yahoo.com)

RAGER: Feculent Emesis: 7”
A witty, co-ed, power-thrash band is a dangerous weapon in my mind. If the people of the world shared my brain, Rager would be appointed to the position of all-things-awesome. But let’s be serious for a moment—if the idea of a politically charged, church-hating, smart band that can bring the crucial, often melodic, female and male vocaled, thrashin’ hardcore punk makes your day; Rager is the 7” to go with. –Daryl (Hewhocorrupts, Inc.)

RATIONAL ANTHEM: Self-titled:CD-R EP
Sounds like it’s played with a sorrowful heart trying to be an uplifting spirit. The lyrics seem to reflect that and that age where you realize that you aren’t going to be young forever. It also sounds like a melodic hardcore band trying to come into their own. I hope that they do because I think they could be pretty good. –Vincent (Self-released, rationalanthem@gmail.com)

RED I CLAN: Killohead: CD
Sometimes an unfortunate side effect of formal musical training is that while one becomes a proficient player, somehow the ability to actually create compelling music from scratch is difficult. That seems to be the case here. While years of training is in evidence in the musicianship, and it’s clear that may a mix of rock, techno, and quasi-industrial dance was a good idea on paper, the execution is sorely lacking in good sound structure, passion, and remotely compelling songs. What you end up with here is an album that sounds like it was made by people who knew how to play but really weren’t all that interested in what they were doing. –Jimmy Alvarado (www.myspace.com/rediclan)

RESTARTS: Outsider: CD
Okay, right off the bat, the opener, “Outsider,” had me singing along. It is about as good a punk rock anthem as I’ve heard in a while. My attention’s all theirs. As soon as the ska riffage introduced itself, however, I immediately checked out, only to be lured back in when they went back to the thrashin’ and yellin’. Truth be told, their ska punk here ain’t as miserable as some I’ve heard, even on their previous releases, but a virtual zero tolerance policy is in place when it comes to that stuff, so much time was spent skipping to the next track. All told, a good chunk of this was faboo, and the remainder was Operation Ivy-culled chaff they neglected to slough off. –Jimmy Alvarado (Rodent Popsicle)

RHINO-39: Self-titled: 2 x CD
As a certified non-West-Coast-grower-upper, the totality of my Rhino-39 knowledge was obtained from four discrete sources: 1. Their song on the Hell Comes To Your House compilation; 2. Their song on the American Youth Report compilation; 3. Their name being plastered across miscellaneous flyers which i had managed to inveigle from kindred West-Coast-grower-uppers; and 4.The fine print on the sides of various commercial aerosol disinfectant cans. It is perhaps not a mark in the band’s favor that the thing that always struck me as the most interesting thing about them was that they named themselves after a germ with a cool name ((and, if you think about that for a while, shouldn’t most of the resultant Cool Points™ be awarded to the germ itself, not the band who merely hitched their wagons to that germ’s mighty star?)). Based on the two songs of theirs that i knew, i always sort of thought that they were kind of in with the less weighty elements of the SST/New Alliance crowd ((i.e., perhaps they didn’t completely hate jazz- and art- rock, and wouldn’t sound out of place on a record with Raymond Pettibon cover art)). However, now that my square-ass ass has been set hip to their initial three-song Dangerhouse release, it is apparent that i was completely oblivious to their status as early entrants in the “first ever hardcore band, maybe” sweepstakes, which, in any rational nut’s taxonomy, puts them more in line with Middle Class, than, say, Saccharine Trust or Overkill ((what’s also amazing is how much the chord progression in “Prolixin Stomp” sounds like that last song on the first Leg Hounds CD, which technically makes Rhino-39 the earliest known Devil Dogs clones—so early on the bandwagon, in fact, as to predate the formation of the band by whom they were influenced by well over a decade. Now THAT’S early adoption!)). Further, the band’s ratty little breakneck guitar solo in “Xerox 12” reminds me of Tommy Hawk’s zany thrash-pop fretboard butchering from the early stages of Cleveland’s Offbeats ((whose existence was still a good three years away at the time of “Xerox 12”s recording)), and even the occasional goofy keyboard solos herein might have predated the similar spaz-out in the Dead Kennedys’ “Stealing People’s Mail” by a few calendar months, so obviously this band, to their great credit, was clearly out ahead of numerous curves. That said, the sort of not-really-in-my-face guitar sound, coupled with their kinda echoey vocal treatment, kinda puts the bulk of this band’s work more in line with the whole The Last/Urinals crowd ((more Last than Urinals, to be sure)) than any of those other bands i mentioned ((except maybe for Middle Class. Yes, i am vacillating. I can’t help it, it’s that time of the month)). But, THAT said, I’ve listened to the Hell Comes to Your House album moderately extensively over the course of the last quarter-century, and when “Marry It” rolled around, it barely registered as a song that i should theoretically be familiar with. My conclusion, after thorough inspection, is that the coolest thing about this band is their three songs from the Dangerhouse single, and the second coolest thing about this band is still that they named themselves after a germ. Take that as thou wilt. BEST SONG: “Prolixin Stomp” BEST SONG TITLE: “Xerox 12,” but only because the band name is “Rhino-39.” FANTASTIC AMAZING TRIVIA FACT: Longing to hear what the band sounded like live, i copped a squint at the video footage on Disk 2, and was amazed that the band pretty much sounded exactly like they did on record. It took me until the video was halfway over to realize that the footage was shot without audio, and that they did, in fact, dub songs from their record over the top of it. Doi. –Rev. Nørb (Nickel and Dime)

RIBZY: Self-titled: 7” EP
Jeez, I dunno if these SanJo legends are back together or they’re just trying to purge their archives, but it’s nice to have some “new” music from ’em. The A-side is comprised of three tunes apparently recorded for a San Jose punk reunion show, the B-side has some circa-2006 recordings of older tunes that weren’t included on the retrospective CD that came out a few years ago. All of it is, of course, gloriously obnoxious in a way that is often rare in these times of punk-as-career-move. Good to hear more from ’em and here’s hoping more is in the works. –Jimmy Alvarado (Vinehell)

RIPSHIT / OFFSIDES: Self-titled: 7”
Hardcore. Like the kind your friend’s band played in high school. Next. –Ryan Leach (Spicy Soup)

ROD MITCHELL: Cheesecake: CD
Musical comedy is a tough row to hoe and Rod Mitchell is swerving all over that field with reckless abandon. One song sounds like he’s swiped Eddie Van Halen’s “1984” keyboard and strapped it to a Weird Al song, while another sounds like a cut from the children’s record Robyn Hitchcock never wrote. There are humorous bits here and there—”The Dying Squirrel” is cruel but funny—but Cheesecake needs a concept to justify putting the lyrical horse before the musical cart and make the trip worthwhile. –Mike Faloon (Orange Knight)

RUNNING FOR COVER: Dark Well: LP
Defunct Buffalo, NY, powerviolence band from recent years who sound like they existed in the WestBay circa 1995: MITB mixed with Spazz and ran through a blender at lightning speed. They throw in some quirky guitar squonking here and there to keep it interesting, and the instrumental at the end is totally out of left field, but it’s good to hear a band take risks in a codified genre. Good stuff all around. Too bad they called it a day. –M.Avrg (625 / Unholy Thrash / Art Of The Underground)

SASS DRAGONS: Bonkaroo!: CD
I don’t like getting caught up with labels. It seems like too many people get caught up in having, “Well, I’m only into [insert whatever little sub-scene/genre here]” attitudes. What’s great about this record is that the Sass Dragons are clearly not those kind of dudes. At its core, this plays like a crass pop punk record, in the sense that it’s catchy as hell, and switches the ever popular “why don’t girls like me” sentiment with “I WANNA TOUCH YOUR BOOBS, GIRL” approach, which make me crack up while bobbing my head as I listen. But here’s the clincher; these guys are good musicians—like, really good. They know what they’re capable of, and come up with some really creative stuff (like the blues number). Dare I say; I think if The Dwarves did that last album of theirs with the main collaborators being The Beatles (both remaining and non), the output would sound like this. And it sounds great. –Joe Evans III (Johann’s Face/Let’s Pretend)

SASS DRAGONS: Bonkaroo!: CD
The “kitchen sink” approach to punk has been the death knoll of many a band. “Endless experimentation” gets tedious because it seems like the band is testing the waters of musical escape routes. (Lesser Fishbone and Bad Brains records come to mind.) Sometimes, you just want to be rocked instead of diddled by a wet noodle in your ear. (I’m all for “experimentation.” Just do it without hitting record. Hit record when the experiment was a success.) Yet, with the Sass Dragons, they’re all over the fuckin’ place—from sounding like Weezer and The Dwarves simultaneously in the same song, to a track that sounds like an STD’d Sesame Street stoop jam—and it works. Much like The Weird Lovemakers (seek out Electric Chump and Back 20 for more evidence) could go from straight-ahead scorchers to ranchero to Doo Wop without losing momentum, the Sass Dragons have hot glued and belt fought something into submission that could have been a big, fuckin’ stupendous mess into a fuckin’ glorious mess. (With a staunch anti-Alan Thicke message.) Lesser bands, just listen and enjoy. Don’t try to copy ‘em, because you’ll sound like dill weeds diarrheaing into your fans’ ears. Awesome in the original biblical sense, not the Kirk Cameron, just-found-god sense. –Todd (Johann’s Face/Let’s Pretend)

SCREAM HELLO: Smart & Stupid!: CDEP
I guess this is a good sign as any that there’s still a degree of segregation between all these little different “scenester/sub-genre/whatever you want to call it,” because I think I see a fair amount of shows in New Brunswick NJ, where these dudes are from, and I’ve only heard their name come up on the internet. This particular EP looks like a teaser for an upcoming full length, with four songs that kind of sound like that “emo”/pop punk that you used to see come out on Jade Tree, in the sense that it’s really polished, and gets kind of arty, for lack of a better word—I kind of prefer New End Original. It’s not bad, but to have four songs last almost twenty minutes just seems way overkill, in my opinion. –Joe Evans III (Red Leader)

SEA, THE: Love, Love, Love: 7”
Definitely a White Stripes influence here. Especially obvious on the flipside, “My Brother Blues.” Not to mention the vocal style is similar. Not bad, but nothing to seek out. –M.Avrg (Lusty, www.theseasounds.co.uk)

SERVICE INDUSTRY: Limited Coverage: CD
It’s a chore climbing over Service Industry’s questionable claims—“for the first time life in the service industry is the concept behind a band”—because every band I’ve ever known has slugged their way through life with name tags, and those jobs have played a pivotal role in shaping their songs. And, just for one example beyond my own experiences, the streets of Nashville are littered with songwriters trying to strike the “work sucks” motherlode. I don’t doubt that the members of The Service Industry have ample experience in the minimum wage trenches but their lyrics rarely rise above cliché. I wish they’d sing about the things they think about when they’ve had those crummy jobs, because I kind of like their country rock, especially when Curt Kirkwood of the Meat Puppets guests. –Mike Faloon (Wee Rock)

SHIT EAGLE: Self-titled: 7” EP
Heavy Reatards influence here, with enough weirdness of its own in evidence to keep it from sounding like some sorta rehash, and a recording quality sure to lay waste to yer eardrums if you play it loud enough. –Jimmy Alvarado (www.floridasdying.com)

SHOOT IT UP: Self-titled: 7” EP
Sloppy punk stuff with enough snottiness pumped into what they’re doing to keep ’em interesting. What seals the deal, though, is they manage to cover of the Consumers’ “Teen Love Song” without looking like total ninnies. No easy feat, my friends. –Jimmy Alvarado (Criminal IQ)

SHORT CHANGED: BurnDownWagonTown: 7”
I can smell the stale beer and garlicy body odor in the air when this record is on. EastBay punk (not pop!) that moves at a moderately fast pace. Nothing really stands out about the music though. It’s just “there.” Plus the vocals, main and back up, sound a bit tired, or uninspired. Ehhhh... Nice split green and gray vinyl though. –M.Avrg (Goat Power Recreation / Pyrate Punx)

SHOTWELL: Patriot: LP
Recently I made my first visit to San Francisco’s Thrillhouse Records, which I discovered to be totally awesome in every aspect. While I was there, I picked up some great 7”s from the bins and Thrillhouse’s most recent release, Shotwell’s Patriot. This is a release that the band, the label, and the city should be proud of. Like a more positive Onion Flavored Rings, or more subdued Tulsa, Shotwell’s music has embodied the SF scene for many a release. With those crisp but warm guitar tones and the perfect combination of optimism, skepticism, and probably some other -isms, this LP is an obvious win for fans of the bands mentioned above, long-running Bay Area zines, and DIY anything. –Daryl (Thrillhouse)

SHYBOY / CRUMP, THE: Split: 7”
It’s been well established that everything from Japan is pretty awesome, right? So when I realized this was on Snuffy Smiles, I was pretty stoked for it, even though I’ve never heard of either of these bands. Shyboy: To me they sounded like if Social Distortion were good. Did I just say that? Yeah, I did. The Crump: They sounded like One Man Army, if they were better. Japan: Taking things from America and making them sound better, since for a long time now. –Joe Evans III (Snuffy Smiles)

SINGULARS, THE: Pet Sounds (for Alexia): 2 x 7”
Fucking awesome. This is comic gold. Pure comedic genious. With lyrics like “I can’t find my dick in this shit in my pants at the dog park” and a song about fucking a pastry, how could I not laugh? (Well, I guess I could “grow up.”) The music that accompanies these irreverent lyrics sounds somewhere between a group of people coincidentally banging out patterns on their instruments and songs written five minutes before they were recorded. There’s even a track that has some semblance of a rap song. Though I really enjoy listening to this myself, I think that the greatest joy I get from these couple of 7”s is the thought of trapping somebody in a room and making him or her listen to this clusterfuck over and over. I’m filing this one under schadenfreude. –Vincent (Self-released?)

SLINGSHOT DAKOTA: Their Dreams Are Dead, But Ours Is the Golden Ghost: CD
Thankfully, this long and slightly bonkers album title does not equal pretentious crap. Slingshot Dakota is a New York duo making upbeat songs that are both poppy and complex. Keyboardist Carly Comando handles all the singing and she has my favorite kind of voice: tough and talented. And after a few listens the title of the album almost begins to make sense. The songs are hopeful and passionate without being overly earnest or dull. Listening through the whole thing over and over again is like watching a series of bright, cheerful, explosions. I’m smitten. –Jennifer Whiteford (Self-released)

SOMETHING’S WRONG / SHOREBIRDS: Split 7”
Two songs. One per each side. Each a mini-epic. Something’s Wrong: “See You Never” is a long distance love song, full of train yards, backs to dumpsters, and buses; a DIY punk “Fairytale of New York” with a more ambiguous, less “you killed both me and my dreams” ending. If you’re a sucker for stabbed-speaker, ragged-voice singing akin to Allergic To Bullshit, and the great male/female voice interplay of The Measure [SA] as I am, this song’s a treat. Great stuff. Shorebirds: Restraint is a funny thing. Too much restraint and the train never gets out of the station and people start looking at their shoes, wishing you’d just leave. But if the train has a rocket attached, too much, too soon, then you get a two-word situation that starts with “premature” and ends with a noun of disappointment. The Shorebirds squeeze that restraint in “The Movie’s Almost Over” like a huge grapefruit. You know it’s gonna burst because the fingertips are penetrating the flesh. Wait for it. Squeeze harder. A little mist as the rind’s giving out. Then splow! Seeds, pulp, juice everywhere, the sky crashes, and then spent silence. In one song. Via early ‘90s EastBay pop punk music lexicon, but very much using present time and experience. Excellent. –Todd (Rumbletowne / Cookout)

STAJNAS LOBOS / VACANT CHURCHES: ST: Split 7”
This split features two very like-minded bands. Both use horror imagery as a jumping off point to comment on modern culture. Stajnas Lobos opens with “The Hammer,” in which they draw school shootings in the form of slasher films, all blood-soaked and focused on the killer. The shaky vocals keep you off balance as you watch the events unfold and even begin to understand the murderer’s point of view. In “Wake up the Dead,” Vacant Churches paint a post-apocalyptic scene of “meathead monsters and plastic ladies.” The keyboards pick at your nerves until you realize the scene isn’t post-apocalyptic at all. This is a good example of how strong the split 7” format can be. –MP Johnson (Vinehell)

STATE OF THE UNION: To the Bitter End... A Discography: CD
The nineties were a peculiar time in music, and most certainly in what embodied the punk scene of that era. State Of The Union were/are of that time. It made sense then, but now it’s a bit foreign. Musically, they were akin to math metal, somewhere in the world of bands like Ambush, Damnation A.D., and Neurosis, though not as urgent or heavy. These guys weren’t bad, but, at the same time, there was nothing in their music that made them entirely memorable. On this disc you get their LP, two EPs, and five new songs (meant for an LP in 2000). –M.Avrg (Profane Existence)

STATELY GENTLEMEN, THE: The Hyperion Sessions: CD
I had high hopes for these Reno lads when I slipped in the CD and let it spin. These hopes were instantly dashed when the first song, a jazzy Ben Folds-type number, started. The second song had the stench of the Black Crowes and Buckcherry smeared all over it. The next three songs ranged from subdued, heartfelt ballads to bluesy adult contemporary rock. Bands, know the kind of music that gets reviewed in a magazine before submitting your 7”, LP, EP, or CD. No way this should have been sent to Razorcake. –Josh Benke (Enigma Proper, myspace.com/thestatelygentlemenofreno)

STATUES: Broken Hands: 7” EP
Much like I inadvertently learned quite a bit about the day-to-day working class Britain from listening to Jam songs over and over again, Statues are power popping me through a short history of middle class troubles of modern day Canada. It works on two levels. 1.) The music is airtight, happy, bright, and bouncy—all hallmarks of great power pop. 2.) The lyrics belie some grave misgivings they have of their lot in life and the songs themselves work as both temporary salve and, hopefully, the antidote. It’s that unresolved tension and a Pointed Sticks cover that make this a great 7”. –Todd (Plastic Idol)

STEAKNIVES, THE: We Can’t Stand This World: 7” EP
The Italian kids responsible for the music here offer up four hellafied tight and catchy punk ditties that could’ve easily held their own against the Dangerhouse stuff back in the late ‘70s. Seems like Zodiac Killer is trying to make an end run on and corner the market on the catchy, rock end of the punk spectrum, and it seems to my they might be succeeding. –Jimmy Alvarado (www.myspace.com/zodiackillerrecords)

STEINWAYS, THE / VARSITY WEIRDOS: Split: 7”
The Steinways come forth with one of their best songs ever on this split with the Varsity Weirdos that was put out as a limited release intended to go out as thank you gifts to those who made it out to Adam and Jenna Alive’s wedding in 2007. Super cute layout work by Stefan of Stardumb records, too! Only 150 or so of these were made, so if you absolutely need to hear this, I might be willing to rip it and send it your way… for a price. –Mr. Z (It’s Alive)

STINKY LOU AND THE GOON MAT: Self-titled: CD
Opening track is “Show Me Your Tits.” The rest of the record is nearly as bad. This is kind of what Bradley Williams and King Khan and BBQ would sound like if they couldn’t write songs and had a thirty point drop in their respective IQs. –Ryan Leach (Voodoo Rhythm, www.voodoorhythm.com)

STOLEN BIKES RIDE FASTER: Nothing Has Changed: CDEP
This is poppy-sounding melodic hardcore punk. Nothing really sticks out about it, but it’s all right. Keith Rosson said that it sounded like the vocalist doubled all his vocal tracks (or something about the reverb being too high, which I don’t understand) in his review of the split these Italians did with New Bruises. Same thing here. That or another band member is also singing everything. –Vincent (Document, myspace.com/documentuk / Rolling Anarky, rollinganarkyrecords.it)

SUB CITY DWELLERS: When the Beat Starts to Pound: CD
Ska, punk, and dub with a pinch of jazz is what this brings to mind. Only thing I can’t get into is the voice that sounds a bit like Op Ivy’s Lint and the slow tempos. It’s not bad at all, but this reviewer would much rather be listening to Streetlight Manifesto’s take on this genre. –Mr. Z (Longshot)

SUPPRESSION: Amputated Brain Stem: 1993 - 2000 Discography: CD
F’ing brutal and uglier than all hell. Suppression were one of the better bands of the first wave of powerviolence. Sounding like a mix of Crossed Out and Man Is The Bastard, their songs were fast, heavy, and noisy. The sonic equivalent of being stabbed in the head with screwdrivers by a gang of thugs. Merciless in their approach, their attack is bass heavy and blown out with bursts of noise that works its way into your ear canal then chews through your brain to the other side. Sixty-four tracks in all, this single disc collects all their EPs, split EPs, and LPs and comp tracks. Most of the material holds up well, and anyone remotely interested in powerviolence should pick this up. –M.Avrg (C.N.P.)

SWEDES, THE: Nothing Says Rich Like Golf Clubs: CD
An immediate “quirky Killers derivative” blow-off might be understandable, but you’ll find a host of stuff imbedded in there—‘70s-era Kinks, Bowie, Pilot, maybe even a little ELO—if you scratch a little harder at the top skin layer. The tunes are catchy with enough quirk to give ’em a little edge and they’re well played, which is pretty much all you can ask for. –Jimmy Alvarado (www.theswedes.net)

SWORD, THE: Gods of the Earth: CD
This is pure fuggin’ godhead! Heavy metal as it is meant to be played. Definite nods to Pentagram and the “New Wave of British Heavy Metal,” but fresher than most bands attempting similar sounds today. The Sword’s debut album, Age of Winters, is flawless and continues to log the miles on my disc player. I didn’t think it possible for a follow up to be on the same level, and yet Gods of the Earth is its equal. Every song is spot on, tightly structured, and executed with white knuckled intensity. Massive wall of guitar with a heavy drum sound that literally pummels. The pacing of the songs must be commended as well. There’s a beginning, a middle, and an end. A true album and not just a random collection of songs to fill up time around a couple good tracks. There is no filler on this. Pure gold the whole way through. –M.Avrg (Kemado)

TEAM ROBESPIERRE: Bad Habit: EP
Absolutely atrocious. Cutesy and painfully self-aware synth-driven indie pop. Think of a far less clever Atom And His Package with some Apples In Stereo thrown in. Not good. I imagine their friends tell them (Team Robespierre) they’re good, but sometimes friends just say that sort of shit to be nice. –M.Avrg (Min/Max, www.minmaxrecords.com)

TEENAGE BOTTLEROCKET: Warning Device: CD
A warning about Warning Device. If you didn’t like Teenage Bottlerocket’s debut album Total, you might as well skip this one. If you’re a big fan, however, this CD will deliver what you’d expect from these guys. While they, again, do not reinvent the wheel, their new songs are a bit more fleshed out and just as catchy as ever, and the drums on this recording sound phenomenal. And, almost as a given, Cody’s songs are sing-along wonders that deserve the repeat button to be pressed. –Mr. Z (Redscare, Redscare.net)

TEENAGE HEAD: With Marky Ramone: CD
I’m not sure if many of you outside of Canada were aware that Teenage Head is alive and kicking. It’s true, Canada’s Ramones are out there on the road and have now done a record of all their classic songs with Marky Ramone hitting the skins. I’ve got to say right off the top that I’m truly surprised at how good this sounds. I don’t mean that in a bad way at all. I’ve seen Teenage Head within the last year get on stage and destroy the place, leaving everyone in awe. I’ve also seen them suck terribly. Thankfully, this disc falls in with the former. The music sounds better than ever, and it’s not just Marky. They whole band it ruling. Frankie Venom is a character who you can just tell has done enough hard living and partying for all of us. His voice sounds as good as it ever has on this. My only real complaint would be his changing a bit of the vocal arrangement and delivery on some of my favorite songs (“Picture My Face” would be a glaring example). After listening to them a certain way for twenty years, it just sounds wrong when they’re different. Overall, this a great addition to the discography of these punk legends. –Ty Stranglehold (Sonic Unyon)

TERRIBLE TWOS: Self-titled: LP
When this was playing, a hot water kettle was hitting a full boil, screaming. And I thought it was part of the song until the pause for the next one. Telling. Full-tilt, lotsa-grit, amped-up, skittering rock that’s so chaotic that more noise only adds to the shit being uprooted and churning in their hurricane. I can imagine the band saying “release the bees!” during a recording and having a swarm of our apiarian friends “liven up a track.” And it would. When the keyboards (as percussive instrument) come in, think prime Lost Sounds. When in full-charge mode, think We March and This Moment In Black History. I call this “point and shit,” music. If I had the money and time, I’d make Blues Brothers-style announcement system for my truck, except the speaker would be hidden and would direct sound. My navigator would point at an unsuspecting passerby, and we’d flip the switch and blast music at ‘em for two seconds to see if they’d shit their pants. Not nice, but it’d be fun… and in the name of science. Terrible Twos have made a great “point and shit” record. –Todd (Criminal IQ)

TERROR: CBGB OMFUG Masters: Live 6/10/04: CD
Here is how a typical live Terror track works: the vocalist vents his anger about something, then insists on his audience to “Move that shit around” or “Tear that shit down” before he announces the title of the next song. The name of said song will usually refer to hostility, strength, conflict, or some combination of these traits. Following this, a faceless roar of a New York-style hardcore track will kick in for a few minutes, with a few requisite breakdowns littered in for good measure. Lather, mosh, repeat. Now, what’s really fascinating about this disc is what is on its cover: above the human dogpile that composes a Terror show, a bald, tattooed guy’s body is splayed in a crowd surfing snapshot. In our view, beneath one knee of the guy’s camouflage shorts is his left leg, which is emblazoned with one of those generic tribal tattoos worn most often by men that call each other “bro” with zero irony. Moving down this gent’s limb, his foot is falling out of a laceless Converse All-Star. This image is the singular most apt symbol of what makes Terror and its antagonistic ilk such a polarizing force within the breadth of hardcore: even among the familiar marks of counterculture, that guy will always carry the clearly noticeable imprint of trite and silly-looking macho bravado on him, making his participation in this setting come off as much less independent and individualistic than it ideally should be. Never has a calf been so telling. –Reyan Ali (MVD)

THROW RAG: 2^nd Place:CD
It’s quite the rare occasion when a real solid band records a fantastic record that gets shelved by its own label at the time, only to be given another opportunity some years later to be released by another label who knows a good thing when they hear it (I hear Acetate is also re-releasing Throw Rag’s debut LP Tee Tot in celebration of the ‘Rag keeping the band going full steam ahead for ten years—hells yes!). Roughly half of 2^nd Place (six songs, I believe) was laid down around five or six years ago, only to be denied release by BYO Records (Throw Rag’s label at the time) for some bullshit reason or another of supposed production overkill. That in itself is all jive because anyone who’s seen them knows damn well that Throw Rag are fucking overkill, be it onstage or in the studio, period. They continue to be one of the very select few bands that consistently bring it 100 percent, right up there with Motörhead and The Candy Snatchers. Los Rag ended up laying down some lo-fi versions of these songs that were included on their 2003 Desert Shores rekkid, and while it was a great release, it’d could’ve been that much better had BYO gone with the original recordings route like Acetate did here on Throw Rag’s latest offerings of rock’n’roll Eucharist. Funny thing is—I’ve always felt this to be true—as I had my paws on the original version of Desert Shores before it got re-recorded and went to press. The disc has “2^nd Place” hand written in Sharpie on it, now that I think about it. Anyway, the old adage “better late than never” has never been proven more true here. Songs that will have you up and wobble-bopping around like a downs syndrome snake dancer in no time flat include “Hang Up,” “Hollywood,” “Bag of Glue,” and “Demons in a Row.” Included are covers “I’m So Glad, I’m So Proud” (their cut from a Link Wray tribute) and “Don’t Be Afraid to Pogo,” their tribute to one of L.A.’s finest, The Gears. This record was laid down with their past six-piece lineup, but now they’re out on the road, continuing to gather up more and more fans one gig at a time with their four-piece rock crusade. I’ve been listening to and watching this band for a long time (since their first year out, actually) and they continue to deliver time and time again. Scrawl this rekkid at the top of your list the next time you’re out shopping for new releases. BYO already fucked up once. Don’t you do the same. –Designated Dale (Acetate)

THROW RAG: 2^nd Place: CD
This was a tough one to get through. This record is a mixing bowl of punk, rockabilly, country, and ‘50s influenced rock’n’roll that ultimately comes out sounding like the same early rock’n’roll riffs repeated over and over coupled with Social Distortion’s cheesiest moments. I wouldn’t call myself a fan by any means, but I’ve heard several songs by these guys on different compilations and I can’t remember any of them being as embarrassing as the material on this album. Somebody may be able to find a home for this in their record collection, but it just isn’t cutting it for me. -Dave Dillon (Acetate)

THROW THE FIGHT: In Pursuit of Tomorrow: CD
The few elements that any bad hard/alterna-rock album needs to complete the factory package are dull cover art that’s been run through the ugliest Photoshop filters and brushes (Check), overdramatic song titles (“His Blood, My Hands” means a yes), corny lyrics like “Where did you go when I was bleeding?” (Uh-huh), placement on the subsidiary of a major label (Yup), and a general lack of personality (Done and done). Get ready to cue this up next, late night MTV2 video rotation. –Reyan Ali (Cordless)

TIGER PISS: Ear to the Wall: CD
Oh, for christ’s fucking sake. Tiger Piss got together to play a cancer benefit, if you believe the one-sheet, and, due to a favorable response, decided to put out this EP. I’m three songs in and there’s not one redeeming quality to the music so far. The singer apes the gal from Reel Big Fish but manages to sound even more annoying. The songs sound like they were plucked from the set lists of various bands on the last eight Warped Tours. “Ear to the Wall” has a part where one of the dudes raps, and the following song is titled “The Disappointment Song.” They should all be called that. –Josh Benke (myspace.com/tigerpissrock)

TIM VERSION, THE: Still Have the Nerve to Call Ourselves a Band: CD
This may puzzle the loyal Razorcake reader, but I just wasn’t blown away by the Tim Version upon first listen. In my defense, my initial exposure to the band was amongst a huge pile of last year’s Fest bands that I was attempting to fully ingest in far too limited a timeframe to give any of the bands in question a fair chance. Regardless, I kinda wrote the Tim Version off as just another gravelly voiced Gainesville-influenced band and moved on. Luckily, I decided to return to this band after their endless praise within these very pages and I couldn’t be happier for having done so. Hot on the heels of their recent full-length for No Idea, Still Have the Nerve to Call Ourselves a Band collects this super-sincere, smart, funny, deservedly lauded band’s non-LP tracks onto one CD, and it’s certainly my favorite of their stuff. Probably you already know these dudes and love what they’re doing. If not, this is a killer place to start. So glad I came back to these fellas. –Dave Williams (A.D.D.)

TIT PATROL: Shut Up Juice: CD
How can you go wrong with a name like Tit Patrol? Let me count the ways! Awful, regurgitated song themes (heroin addiction, lobotomies)? Check! Tired harmonies for backing vocals? Check again! Boring riffage? Check thrice!! Uninspired delivery? Quadruple check! The problem with fifth and sixth generation Ramones rip off bands, among which Tit Patrol can count themselves, is that they’re not ripping off the Ramones at all, but the third and fourth generation Ramones rip off bands. The formula is so diluted by the time Tit Patrol gets its hands on it that there’s no possible way anything remotely listenable can come of it. It’s all of the worst aspects of ‘90s pop punk burned onto a CD and pushed out the anus of the underground. There is some other stuff going on here, namely the use of Suicidal Tendencies and Adam Sandler for inspiration on the opening track, which, in the case of Mr. Sandler, should never, ever happen. If I want to listen to a Ramones rip off band, I’ll stick with those who do it right. Gimme the Queers! Gimme the Riverdales! Gimme Head! –Josh Benke (Madison Underground, www.madisonundergroundpress.com)

TITLE FIGHT: Kingston: 7”
Shades of ‘90s emotional punk and a bit of hardcore (Lifetime, early ‘90s Dischord) seep through into the three songs found on this. The guitarists are more than capable, the lyrics are honest, and it’s all done by a bunch of juniors in high school. I never would’ve guessed it if the press sheet hadn’t said so, as the songwriting is top shelf compared to that of most bands this age. It’s nice to hear a band of kids my age doing something other than ripping off Underoath. -Dave Dillon (Flightplan, www.flightplan.bigcartel.com)

TOASTERS: CBGB—The Bowery Collection: CD
This appears to be one in a series of CDs of live recordings from punk’s storied epicenter. This June 28, 2008 set is solid and lively, showing why these kids were a much-respected band during ska’s second wave, meaning that if you’re looking for that annoying post-Operation Ivy version of ska punk here, you’re shit out of luck. Nice to hear something from these guys again. –Jimmy Alvarado (MVD Audio)

TRANSISTOR TRANSISTOR: Ruined Lives: CD
I’ve heard my fair share of screamy hardcore the past few years and as I listened to Transistor Transistor (who used to be a snotty rock and roll band) all I could think of was a quote from Ian MacKaye in Instrument. He’s speaking in between songs to some kids who are slam-dancing and causing a ruckus but in the quote I replaced dancing with “screamy hardcore” and it sums up my feelings on this album. “We’ve never seen anything like that crazy, crazy screamy hardcore before. Actually, it’s just boring as hell. So knock it off and let’s all have a good time.”–Kurt Morris (Level-Plane, www.level-plane.com)

TRANSIT: This Will Not Define Us!: CD
I take that title as a challenge: It’s basically that “nü” brand of radio punk pop. To be fair, it kinda reminds me of an earlier wave of when this kind of stuff took off, like in the early ‘00s, but it’s still that kind of jam. Also, I’ll probably get called a prick over this review anyway, so I’ll make a comment (but serious one) on the press sheet: playing something between three and five random/scattered dates every month in your general tri-state area does not equal a tour. –Joe Evans III (Barrett)

TRICLOPS!: Out of Africa: CD
This is a totally weird, totally intense, and thoroughly enjoyable strange trip. It sounds like intelligent-manic aliens on acid formed a band after listening to a lot of Melvins, Phish, ‘70s progressive rock, and Zack de la Rocha’s vocals. The result is unlike anything you have ever heard before, and nobody else can sound like this. Triclops! is a genre unto itself. You will either love this album or you will hate it; there is no in between in the higher-regions of experimental, socio-political, serious-yet-inane consciousness. There are only seven songs here, but the entire experience clocks in at about forty minutes total. No matter; time is irrelevant in this dimension where scathing denouncement of American materialism and hostile world imperialism swirls in an earsplitting melodic cacophony of comedic nonsense as presented on track two “Iraq Curator.” Play this for your friends and they will either look at you knowingly or as if you had three eyes on your forehead. –Marcus Solomon (Alternative Tentacles)

TSOL: Live from Long Beach: CD
Jack-please to explain? You mention about five times on this platter that this is the last run for the band. But in 2008 I see dates. Not that I’m complaining, I’m just sayin’. 2006 show from Long Beach has all the hits, some obscure numbers, and a Damned cover. Not quite as good as that Galaxy show they put out a couple years back, but close. Grisham should edit out all his on stage chatter and put it on a record like Robert Pollard did. I bet it would sell boatloads. –Sean Koepenick (CiderCity, no address)

TURNPIKE CRUISERS, THE: Rockin’ Possessed 1984-1986: CD
Nice bit of psychobilly from this Zanti Misfits offshoot. The songs appear to come from a number of demos the band recorded (for some reason there’s no history lesson to be found in the booklet), and they peddle their wares with enough vim and vigor to please even the most snooty psychobilly fan. –Jimmy Alvarado (www.cherryred.co.uk)

URBAN UNREST: Self-titled: 7”EP
Standard hardcore with that dirty and thrashy side. These guys are definitely angling for that retro style that is popular these days. Reminds me of the Formaldehyde Junkies to a degree. These guys are a bit too formulaic in the end. A lot of false endings in nearly all the songs, and it seems the tempo never changes, so you think you’re listening to one song, when in fact you’re on track three. This isn’t terrible, it’s just not memorable. Akin to eating a cookie when what you really want and need is a burrito. –M.Avrg (Evil Corporation, www.myspace.com/evilcorporationrecords)

USED KIDS: Hoovercraft: 7”
These cats’ first release since a name change and a bit of a lineup shuffle (you may have heard them in their previous incarnation: the Modern Machines!) sounds just how we all expected and hoped it would. There’s that same undeniable songwriting with a bit more Westerberg at times and a hint more Mellencamp at others. Stick-in-your-head gems that fly by way too fast. We need an LP from the Used Kids ASAP, so get on it guys and gal. –Dave Williams (Salinas)

VACATION: Self-titled: 7” EP
Barely competent stuff that skirts the fine line between political punk and the DIY tape stuff that proliferated in the underground in the late ‘80s. The kids over at KXLU will no doubt be all over this. –Jimmy Alvarado (Hello Asshole)

VACATION: Self-titled: 7”EP
Crass spoken word bits, mixed with the occasional folky ambience of Defiance, Ohio. I was thinking, “Maybe Surrender has a contender!” Unfortunately, Vacation hug the hardest-to-listen-to bits of their predecessors. They seem philosophically and literarily involved—Baudrilliard, Pynchon, and a whole host of heavy thinkers are invoked—but, I enjoyed reading the lyrics without the music playing much more. That’s bad news for a band. For fans of late-period Fifteen, who really get wet when Jeff Off recites how to clean the syringe before sharing a needle for the duration of a song? I admire the driving ideals, not the execution. –Todd (Helloasshole)

VARIOUS ARTISTS: Drink Fight Fuck Vol. 2: CD
When you pick up a compilation with a cover featuring a zombified GG Allin getting fondled by a couple drunk and tattooed punk chicks on it, you know what to expect. You know that you’re going to hear a bunch of scumpunk bands doing sloppy tunes about pooping on faces, sticking dicks into mud puddles and that sort of thing. However, when you put this disc in, your expectations will not be met. It’s filled with straight-forward punk’n’roll. You will be baffled by its uniform excellence. You will be amazed by the general lack of throwaway tunes that tend to plague compilations (There is one glaring exception—“Emo Fag” by DMF—which is made all the uglier by the fact that it follows “Watch Your Back” by the Sonic Negroes, which could be the best on the disc). You may want to play it again. –MP Johnson (Zodiac Killer)

VARIOUS ARTISTS: Drink Fight Fuck: CD
A nice twenty-four-song comp of bands that find common ground in the sleazier rock’n’roll fringes of the punk, hardcore, and psychobilly subgenres. Most of this stuff—courtesy of the Dwarves, Black River Mafia, The Hitchhikers, Kansas City Faggots, Funhouse Strippers, and more—sounds like it comes from recent stock, but they keep the punk swagger and attitude at maximum, giving it a bit of an edge over the competition by not sinking into some pretentious quasi-glam metalfest. Good stuff. –Jimmy Alvarado (www.myspace.com/zodiackillerrecords)

VARIOUS ARTISTS: Funhouse Comp Thing II: 2X CD
Let me put this as plainly as possible: this collection, and its predecessor, gives me hope for the world. It’s no secret that the compilation disc, once an essential piece of the punk rock arsenal that provided a snapshot of the efforts of entire punk communities the world over, has been systematically co-opted and rendered wretched by labels who found it was a nice ’n’ cost-effective way to peddle their wares by featuring crap songs by crap bands. These days, the lion’s share of compilations is a chore, at best, to slog through. These Funhouse comps are different. Put together by someone who either remembers or rediscovered the compilation’s original intent, they feature bands that have played a little club across from Seattle’s Space Needle called, interestingly enough, The Funhouse. Due to its location in the Pacific Northwest, the bulk of bands representing are from that area (with a few nods to California, Canada, and other continents) and this time ’round you get two discs with fifty bands serving up Hurricane omelet-sized helpings of grade-A punk rock in myriad form, courtesy of the Spits, Bill Collectors, A-Frames, Cute Lepers, The Heels, TacocaT, Paper Dolls, Teenage Harlets, Reptilian Civilian, and oodles of others. One is hard-pressed to find a lousy track in here anywhere, and if punk rock ain’t a staple of your local radio station, this serves as a faboo alternate means of punishing your speakers. A hoot, this is, through and through. –Jimmy Alvarado (www.thefunhouseseattle.com)

VARIOUS ARTISTS: Loves in Heat Records: CD
This is a sampler from indie label Loves In Heat Records. Lots of art rock. And some hardcore-type stuff too. The stand out track for me was “The Resisted” by a band called Birds Fled From Me, which is a haunting and lovely piano-driven ballad sung by a lady with a killer voice. It is pretty much the opposite of everything else in this collection, which probably means that the sampler was not exactly directed at people with my non-art-rock musical taste. –Jennifer Whiteford (Loves In Heat, www.lovesinheatrecords.com)

VARIOUS ARTISTS: Sick of Fun: 7” EP
Dude, if pressed, I probably can’t remember what I ate three days ago for lunch, so bands going back to 1982 for musical inspiration don’t bother me too much. (Okay, and maybe they weren’t alive in 1982, and that’s shitty to harsh on people over something they had no control over, like when two people fucked and a lady got pregnant.) Oh, with two caveats. That the bands themselves don’t suffer from “Back in the day”-itis, and that they sound like they’re having a good time for themselves. Let’s check the pudding. Bands unhappy with current political policies? Check. Picture of a gasmask? Check. Someone getting shot? Check? Birthing shot (Technically a crowning.)? Check. Hardcore that veers into thrash? Check. Fifteen songs on a 7”? Check. An actual band or two from the early ‘80s? Ribzy? Check. Coke Bust, Valoids, and Broken Needle were my favorites, and noticeable mention to Doghart Trio for being the folk Flipper (band, not TV dolphin) of the bunch. Nice. –Todd (Stress Domain, myspace.com/stressdomainrecords)

VARIOUS ARTISTS: The World’s Lousy with Ideas Vol. 4: 7”
This is the fourth volume in a series that I’ve never heard of. It features Touched, Coconut Coolouts, El Vicio, and Fag Cop—four bands that I’ve never heard of. They all play garage-y stuff. Touched and Coconut Coolouts both have a KBD punk thing happening for their garage-y rock. It’s typically not my thing, and I probably wouldn’t have listened to ‘em if I were told that’s what they were, but I actually think they’re pretty decent. The other side of the 7” with El Vicio and Fag Cop starts at bad, then quickly travels over to worse. They are both pretty garage, and I don’t care for too much garage. However, because of the screeching vocals, Fag Cop bothers me so much that I almost like El Vicio. –Vincent (Almost Ready)

VENUS VERSE: Phazes: CD
This puppy is stone new wave, as in “We really like Depeche Mode” new wave. They do it so well you could probably throw this on at an ‘80s party and no one would even notice. Gloomy, detached, and yet very catchy. –Jimmy Alvarado (www.myspace.com/venusverse)

VICE PIRATE: Discovering the Origin of Language: CDEP
These guys sound a lot like Rise Against, which would be okay in my book, but add in some more technical bits (à la latter day Strung Out) and it can start to lurch precariously between being good, like Smoke or Fire, or bad, like Paramore. My main problem with the band lies in the fact that I can’t get into the vocalist, who has too much of the nü-emo forced angst, bordering-on-whiny sound going on for my taste. I guess, given the right circle, these guys could get big, but I’m not feeling it too much. –Adrian (Pee)

VICTIMS: Killer: CD
F’in’ incredible! I have listened to this disc well over fifty times, and each time I am amazed at how great this album is. Victims have released one scorcher after another, and I believe this surpasses everything they have done so far. Even more impressive is they pulled this off as a three piece. Also, they are entering a realm of music that defies easy categorization. The hardcore elements are still there, but the rock’n’roll side that has been lurking underneath is more obvious now, and actually enhances the overall effect. Every song blasts away with intensity without resorting to blinding thrash. Instead, the songs are actual songs played with the right amount of speed mixed with time changes and a tunefulness that lodges them deep into your memory. Johan’s voice still has that punch as well. Not one bad song in the bunch. A solid record the whole way through. This is definitely one of my “desert island discs.” –M.Avrg (Combat Rock Industry)

VIVIAN GIRLS: Wild Eyes: 7”
Not even thirty seconds into the first track, I swore that this Brooklyn band of girls listened to a lot of Black Tambourine. Hell, I thought they could be Black Tambourine. They have soft, female vocals that glide perfectly with their blend of minimalist shoegaze and twee pop on the title track. The b-side is more minimalist shoegaze stuff, but more ambient and less pop than the a-side. Seriously, I don’t know what else to say except that I think it’s rad that I finally heard a band that has a distinct Black Tambourine influence. I recommend keeping your ear to the ground for more from this band. –Vincent (Plays With Dolls)

WACO FUCK: Paranoia Is Total Awareness: CD
I know most people complain “I like their earlier stuff better” when critiquing a band’s progression, but in this case I gotta say I like them more as their sound progressed from grindy, über-speedy hardcore to something a smidge slower with more groove, more anger and less bludgeoning. Thankfully, they start off with their latest stuff, then work their way backwards, with an earlier EP’s worth of tracks and ending with an even earlier EP’s worth of tracks, for a total of twenty-two in all. Good stuff. –Jimmy Alvarado (Life’s A Rape)

WENDOL: Self-titled: EP
Metal with the dual vocal thing happening. One dry throat, the other a deep, wet, burping sound. The strongest song of the five is “Mercy Killing.” Though nothing groundbreaking, this song has a decent amount of energy and moves at a decent pace. Other than that, this is just okay on the whole. –M.Avrg (Pyrate Punx)

YOKOHAMA HOOKS: Turn On: 7” EP
Art school minimalism in the rhythm section (think early Wire) but with more aggression in the guitars (think Tyrades) and topped off with vibrato in the vocals (think Sleater Kinney). That’s where things get dicey because there’s little room for error whenever vibrato seeps into the singing. It’s like tuning in an AM station on a small radio, the whole AM band compressed into a display window only a couple of inches wide. When it’s dialed in, the vocals and guitars synch up, like on “Bloodstains.” But a millimeter in either direction, and I tune out because the noise masks the melodies. –Mike Faloon (Tic Tac Totally)

YOKOHAMA HOOKS: Turn On:: 7” EP
This may be hitting me completely wrong, but I hear icy hipster art rock, like more time has been spent in their lives shopping for clothes than working on songs. Perhaps it’s the shrill trilling of the vocalist that’s making me squint, and even though I’m sitting in my room listening to this, my first impulse is just to turn around and leave my house. That can’t be good. Maybe it’s the dismantling of Agent Orange’s “Bloodstains” that’s got me all pissy. Three songs. –Todd (Tic Tac Totally)

YOLKS, THE: Wandering: 7”
Chicago hit makers, The Yolks, return with a follow-up to their heralded debut 7” that is every bit as good and, at times, exceeds the simple brilliance of the first record. Along with the Fevers and fellow Chicagoans, the Bold Ones and Headache City, they must have access to a piece of the garage pop collective unconscious that remains inaccessible to ninety-nine percent of the bands playing and recording music today. “Wandering” is an effortless, uncomplicated, one-and-a-half minute piece of sullied, lyrically existential genius that finishes far too early. Like a character in a Jim Jarmusch film, the person in the song rambles from place to place, taking in what he can and moving on to the next destination when he feels the need. In a perfect world, “Wandering (Part II)” would extend to the B-side for seven-plus minutes of absolute perfection. Not to knock the other two songs, ‘cause they rule with the same nonchalance as “Wandering.” “Don’t Blame Me” crashes its way through a couple minutes of “whoa-whoas” and the B-side is a ripping instrumental. As with all the other Bachelor releases I’ve reviewed or purchased, the jacket sleeve is maddeningly small, making it next to impossible to put the record away. Luckily, this record will spend most of its time out of its jacket, sitting on my turntables, spinning at 45 RPM. –Josh Benke (Bachelor)

YOUNG KNIVES: Superabundance: CD
Somewhere between the Futureheads and Franz Ferdinand you can find the Young Knives. Poppy rock with a post punk influence. The first four songs are potential hits, with “Light Switch” the most interesting of the entire album. After that, they lose steam and fill the rest of the album with far less charismatic material. –M.Avrg (Rykodisc)

YOUNG MEN, THE: Fuck You, We’re the Young Men: 7” EP
Sometimes, having a memory fuckin’ blows. Memory #1: most (if not all) of these dudes, in one incarnation or another, were in Bent Outta Shape. Memory #2: StrayDogTown is a fantastic album. Memory #3: Bent Outta Shape “space shuttle”ed: they blew up on the ascent and disbanded. Memory #4: Bummed. Memory #5: Whenever I meet Jamie, the lead singer, he tells me all these ideas on how to make Razorcake better (“put a joke on every page”) and he’s never once pulled through, even though I’ve said, “Don’t tell me about it. Do it.” Problem #1: This is no Bent Outta Shape. Prime Replacements is given up for so-so period Paul Westerberg solo albums. But. It’s. The. Same. Dudes. As. Bent. Outta. Shape. (With longer hair.) I probably wouldn’t be so bored if there was no expectation, no memory. Shitty, I know. –Todd (Plate of Shrimp, no address)

YOUTH OF TOGAY: Tossed Salad Days: LP
Nothing makes me smile more than a band hell-bent on taking the piss out of a subgenre as uptight as the straight edge wing of hardcore. As their name and the album title imply, these kids reinterpret some straight edge standards as gay anthems and add them to a batch of solidly delivered originals, all featuring lyrics that detail the joys of man-lovin’ with enough descriptiveness to totally flummox the average hardcore kid (I can hear it now: “I mean, I really like the music, but the lyrics are so, you know, gay. Are they serious about all this goo slurpin’ stuff?”). Though not as incendiary in sound as Limp Wrist, these guys have a charm all their own and are more than worthy of a place next to your Crucial Youth albums. –Jimmy Alvarado (www.fnsrecords.com)

ZHENIA GOLOV: Self-titled: 7” EP
Angry hardcore that sounds heavily influenced by mid-‘80s straight edge stuff (although thankfully devoid of all the metal riffage) and maybe some earlier Midwest hardcore. While they didn’t get my skirt in a bunch, they weren’t terrible, either. –Jimmy Alvarado (Railroaded)