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· 1:The Backpatches of NYC (Collection 5)
· 2:The Backpatches of NYC (Collection 6) adelsouto.com
· 3:The Falcon, The Copyrights, Sam Russo live at the Troubadour, July 16, 2016
· 4:Razorcake #93 Now Available, featuring Basement Benders
· 5:#414 with John Di Marco


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Razorcake #93
One Punks Guide to Pinball, by Kayla Greet
Razorcake #92
Spokenest, Gone, Gone, Gone LP
Pinned In Place, Ghostwritten By LP


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Record Reviews

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ABSOLUTE POWER:
Self-titled: LP
A debut LP on Youth Attack from a band with a “members of” list that goes on and on and on (Failures, Charles Bronson, Aerosols, Cut The Shit, Bones Brigade, Orchid, Ampere…); so it’s easy to assume a lot about this record. Most of the assumptions will probably be correct, but, honestly, in this case that’s not a bad thing. The record is more accessible and straight-forward than previous efforts from affiliated bands, but still retains a clean and clearly intentional presentation. The music doesn’t point to one direct influence, with heavy nods to classics like Get It Away, My America, andCondensed Flesh being offset by a very modern approach. The songs are short—but each move in different directions—and the guitar captures this perfect, just slightly overdriven tone that I love. The main riffs are fairly straightforward but there are a lot of very cool angular breakdowns that italicize sets of lyrics in the song structures. What makes this record work best is the fact that while there is a very dated influence, you get the impression that the individual members are so beyond trying to define what the aesthetics of what hardcore are—that they are no longer trying to impress themselves by trying to cop the sounds of others—and have simply moved in a different direction.  –Ian Wise (Youth Attack, ihateyouthattack.com)


ADAM HEALTON & THE SITUATION:
III: CS
Remember when Van Morrison pooped out that utterly bizarre, nearly unlistenable Contractual Obligation session for Bang Records? The one with cuts like “Ring Worm,” “Want a Danish,” and “The Big Royalty Check”? Yeah, Adam Healton & The Situation’s album, III, is a lot like that. With nonsensical lyrics, out of tune guitars, antiquated synths, and schizo samples, each ear-grating track is certainly memorable, albeit difficult to digest. Adam Healton specializes in a far-out, lo-fi style a la Ariel Pink, and ups the creativity ante with each proceeding song. Love it or hate it, III is an album that’s unlike any other.  –Simone Carter (Pure Fucking Gold, pfgrecords@gmail.com, pfgrecords.bandcamp.com)


ADULTS:
Black Bile: 7” EP
Mix of garage, punk, art damage, and maybe a smidge of proto-hardcore influences. Songs are short, loose, and just the right kinda sloppy.  –Jimmy Alvarado (Toxic Pop)


ALICJA-POP:
Rats (Home Recordings 2009-2013): LP
This is another synth project of Lost Sounds’ Alicja Trout. I haven’t been following her career at all, but this is as good an introduction as any. At its most rambunctious, it’s sweet and hook-heavy garage punk; sparkling pop melodies over lo-fi programming. But many of these tracks are more subdued—pleasant synth pop with enough post-punk grit to keep it from falling into that mind-numbing twee hole that so often swallows bedroom recordings. Not that I’m coming into this with any kind of personal bias. The songs and performances are fully formed, “home recording” or not, and Alicja’s buoyant songwriting really drives this. This is party music for a very chill grown-up party. I can get behind that.  –Indiana Laub (Certified PR, thickbootyhos@yahoo.com, certifiedprrecords.com)


ALPHA STRATEGY:
Drink the Brine, Get Scarce: v
CHUCK BARRIS: Jaye P. Morgone, why did you gong this band? JAYE P. MORGAN: Because they sounded like a mentally challenged Minutemen. CHUCK BARRIS: I heard a clever Lard myself. We’ll be back with more stuff! BEST SONG: “All the Rest.” BEST SONG TITLE: The album title is better than any given song title. FANTASTIC AMAZING TRIVIA FACT: “Don’t pay for it when you can download the darn thing for free.”  –Rev. Norb (alphastrategy.net)


ALTE SAU / LIME CRUSH:
Split: 7”
I’ve read good things about Lime Crush and all those things were right—they’re good. “Never” bops along in basement show mode with Veronika Eberhardt singing just a hair off-key before unleashing a brief, screaming hell. Believe me when I tell you it’s a hit. I wish my high school German skills were stronger, but I do know that Alte Sau’s “Becki Hat Ein Pferd” translates to “Becki has a horse.” Whatever else they’re saying, I’m not sure. There is an organ sound running through it and that’s enough for me.  –Matt Werts (Fettkakao, fettkakao.com)


ANDY CALIFORNIA:
My Dying Bed: 7”EP
Proclaimed by his label Black Gladiator as the “last true savior of rock’n’roll,” Andy California, nee Andy Macbain of Tunnel Of Love and The Monsieurs, has unleashed the first recordings of a new solo project with this 7”. Fusing rock’n’roll with a bit of bluesy folk troubadour stylings, this immediately conjured vibes of late ‘80s to present-era Tom Waits. With more jangly guitar stylings and less jazz influence than Waits, California is certainly hitching a ride on a similar train and crashing in some of the same hobo camps as Waits. It’s weird, it’s dissonant, but it’s really damn catchy. If Andy California is able to craft some narrative structures and stories into his future material, he could very well achieve Waitsian levels of artistry.  –Paul J. Comeau (Black Gladiator, slovenly.com)


ANGEL DUST:
Upside Down: 7”
Tight and to the point A/B side single from the East Coast’s Angel Dust. “Upside Down” feels like a one of the faster, poppier Quicksand tunes, while the flip is similar, yet with tougher vocals; closer to Murphy’s Law. Glad to finally hear these guys, as I think I’ve been subconsciously confusing them with label mates Coke Bust for a long time. Nab it.  –Steve Adamyk (gravemistakerecords.com)


ANGRY ANGLES:
Self-titled: LP
Angry Angles was Jay Reatard’s post-Lost Sounds/pre-solo career band, along with Alix Brown and a couple of different drummers. They managed to release a few singles before disbanding, which are collected here along with a number of unreleased tracks (and a live set if you use the download card included). The music sounds appropriately transitional—a distillation of both the dark new wave terrain Lost Sounds mined so well, albeit sans synths, and the blown-out, shattered garage pop of his later work. If you’re looking for a quicker reference, one need look no further than some of the covers they drop here—tunes by the Urinals, Devo, and a great take of Wire’s “The 15th”—to suss out the parameters they set out for themselves. Lots of good ideas fly past as this spins, some that are pretty stunning, some that probably could’ve used a few more weeks of gestation, but nothing that results in an embarrassed wince. All told, this is a fine closing salvo and a bittersweet rearview glance at what one could easily see as growing into one of the great bands of the last twenty years.  –Jimmy Alvarado (Goner)


ANTI-NOWHERE LEAGUE:
The Cage: CD
Brand new full-length from England’s punk pioneers. This lineup of the band has been intact for a few years now, and the tightness shows in this recording. If straight-ahead, no-frills punk is what you crave, the band delivers. There’s even a tribute song to a certain frontman from another long running U.K. act. “God Bless Alcohol” and “The Last Cowboys” are my favorites here. Long live Animal!  –Sean Koepenick (Self-released, antinowhereleague.com)


ARCTIC FLOWERS:
Remix: LP
One of those bands I’ve heard much ballyhoo about but haven’t actually heard. Three tunes showcase a deft ability to mix punk and death rock influences, which is often harder than it would seem at first blush. Songs are punchy, full of drive, and yet danceable. This latter trait explains the several remixes, predominantly of the opening track, “Technicolor Haze,” that make up the remainder of wax time here, each of which takes the track(s) in new directions. Daryl expressed some concern when I plucked this from the pile, saying they were a good band but that maybe a remix record might not be the best place to start my acquaintance with them. He was right, but I don’t think for the reason he might’ve thought—the remixes don’t bother at all, but I do wish there were more tunes on here, ‘cause this is quite good.  –Jimmy Alvarado (Deranged)


ASOUND:
Self-titled: CS
On the bright side, this sounds a tiny bit like the first Aerosmith album played on the wrong speed, although I am currently unsure what speed that would be. 16 rpm would be my best guess. It also sounds a bit like my Black Sabbath 8-track, but with a boy singing. There is a drawing of a big hairy monster on the cover. He may be the singer. Today’s best and brightest clearly prefer the cassette format. BEST SONG, BEST SONG TITLE, and FANTASTIC AMAZING TRIVIA FACT: “Moss Man,” “Moss Man,” and my friend’s dad used to be in a band from the ‘60s called Lord Beverly Moss And The Moss Men.  –Rev. Norb (Tsuguri)


ATTITUDE ADJUSTMENT:
Terrorize: LP
For those not keeping score, Attitude Adjustment were one of the more venerated bands out of the 1980s Bay Area scene that was mixing prodigious amounts of metal into their hardcore thrash, ultimately resulting in their inclusion with similar bands into what became known as “crossover.” Their American Paranoia album is considered a classic of the genre, and rightly so. This latest release by a reformed lineup apparently active since 2007 sees them working at the same velocities as during their heyday, with maybe a smidge more of the hardcore ingredient in evidence here. Tunes zip by, are well executed, and show that age hasn’t mellowed these cats one whit.  –Jimmy Alvarado (Beer City)


BACKSLIDER:
2008 - 2013: CD
Collection of their EPs, Reality #5 comp track, and the Skull Fracturing Fastcore demo. There are fifty-one tracks total, so you can either listen the whole way through, or for maximum effect, bits and pieces at a time. This wonder duo cranked crushing powerviolence kind of music—plodding tempos, a ton of low end, and drums that sound like they’re going to bust with every hit. I hear some Man Is The Bastard in their sound, but this is played with more urgency and has a better groove when called for. Then they mix in the likes of Infest and Crossed Out for extra sonic brutality.  –Matt Average (To Live A Lie)


BAD BREEDING:
Self-titled: LP
If Bad Breeding is railing against life in Stevenage (U.K.) then it must be one hell of a dreary shithole to bring forth an outpouring that reeks of such despair and wretchedness. Blending together Discharge, Black Flag, and Crass into a brutal and uncompromising delivery, this four-piece comes across like it has the power to wipe the town off the face of the map with its explosive offering. I was taken aback by the sheer might of the sixteen tracks on this album which left me reeling from the aural equivalent of assault and battery. To be fair, Chris Dodd’s lyrics pick on more targets than just the band’s hometown as the Tory destruction of the U.K. comes under fire, too. His vocals possess a palpable sense of anger as they are spat out over a cacophonous musical carnage lasting just over half an hour.  –Rich Cocksedge (Self-released, badbreedingband@gmail.com, badbreeding.com)


BAD MECHANICS:
Demo 2015: CS
I can’t believe these words are springing from my lips, but this swarthy duo sound like a cross between Boris The Sprinkler, They Might Be Giants, and Ministry. THERE. I REALLY SAID THAT. The dude’s voice sounds so annoyingly like my own in places that I don’t know if I should slap him or give him a piggyback ride and yell “woo!” Maybe I should just slap myself and have the pig yell “woo!” Either way, this is clearly cassette of the year! WOO! BEST SONG: “$5 Haircut” BEST SONG TITLE: “Adults with Wine.” FANTASTIC AMAZING TRIVIA FACT: This is the first cassette I’ve ever obtained that came packaged with a download card.  –Rev. Norb (HeWhoCorruptsInc., hewhocorruptsinc.com)


BARDUS:
Stella Porta: CD
Dooooom! Full disclosure: doom, stoner, and sludge metal have been on heavy rotation in my life for the better part of the last year. And while Bardus is not The Melvins or Conan, Stella Porta hits all the right proverbial buttons for me: the psychedelic artwork, the droning guitars, the fantastical subject matter all rounded out by drums too heavy for Sisyphus himself, and echoes upon echoes of vocals. Fuck, I like this music a lot. In another five years, Razorcake will probably be sending my mail to a monastery in Iceland or a smoke-filled van in Seattle.  –Jon Mule (Solar Flare, solarflarerds.com)


BASEMENT RAT:
Pura Mujer: CS
I can’t remember if someone told me this was a riot grrrl band or if it was implied because they’re mostly female and noisy. What they really do, live and on this brutal cassette, seems outside category, or I guess in between genres. When Basement Rat is catchy, they’re catchy. And when they’re gnarled and slow and thoughtful, they remind me of Fisticuffs Bluff and the good, underappreciated mid-’90s screamo highlights. More of this, please.  –Matt Werts (Drug Party, drugparty.bandcamp.com)


BERNAYS PROPAGANDA:
Politika: CD
Bernays Propaganda is a Macedonian electronic new wave band whose sound on Politika is reminiscent of New Order, but with female vocals singing in their native tongue. The band utilizes a drum machine and some samples while keeping roots in a slightly darker 1980s British sound. It’s competently played and an adequate length (thirty-five minutes), but for some reason the songs never catch my ear. It might be the foreign language vocals caught me off guard, as normally I like this kind of sound. If the description sounds like something you’d be down with, though, I say go for it.  –Kurt Morris (Moonlee)


BERNAYS PROPAGANDA:
Politika: CS
Bernays Propaganda is a Macedonian band that makes synthy, melodic post-punk with drum machines, angular guitars, and dynamic bass lines. Like if Suicide was fronted by a woman and made pop songs, or a more electronic Wire. Thankfully, this cassette seems to have nothing to do with Bernie Sanders or his propaganda; it’s intense, sometimes dark, but ultimately danceable. Definitely recommended.  –Lyle (Land Animal Tapes, landanimaltapes.bandcamp.com)


BIG BABY:
If You’re Not a Baby, You’re Too Old: CS
Dyana and Madison make up Big Baby and Big Baby is surf rock drums nearly drowned out by big, post-punk guitar riffs and the formerly mentioned band members conversing with one another about the everyday life that we live while we think about bigger, supposedly more important things: feeding the cat, grocery shopping, and online shopping. The sounds of this album are exactly what you would want from a punk band on a cassette. The non-essentials are stripped away and the music hits you right between the eyes. This is especially true for the dual vocals that show no sign of echo or reverb. Back to my waxing poetic about the everyday versus the delusions of grandeur—it is music like this that makes the everyday bearable. We should all be so lucky to be able to interpret our lives through art like this. All experience is front and center and the two-minute song is queen. Long live the queen! –Jon Mule aka Juan Burro aka Jonny Thrash  –Jon Mule (Deli Boy)


BIKES:
Self-titled: LP
Devoutly midtempo, floor-tom-heavy garage that neither gets around to beating you over the head with the physicality of their nice raw sound, nor slapping you upside the head with the cerebral thrills of songwriterly excitations. The songs just bash along at nearly identical tempos, without anything particularly noteworthy happening at any point in time. I don’t hate it, but I’m about ten-twelfths of the way through the record as I write this and I kind of wish something really cool would happen soon. It sounds more or less like if the Little Killers absolutely, positively could not kick it into gear one day, and chose that particular day to record an album. Oh wait, that was A Real Good One. Well, you get the idea. BEST SONG: “Jailbreak.” BEST SONG TITLE: “What Do You Know about Tantric Sex.” FANTASTIC AMAZING TRIVIA FACT: Although the record appears to be self-titled, the spine has the word “MATT” on it in addition to the label name, release number, and band name. ­ –Rev. Norb (Alien Snatch, aliensnatch.com)


BILL BONDSMEN:
Until the Razor Cuts: LP
I lucked out in managing to catch the Bill Bondsmen at the ground level, beginning with their first demo and, while I haven’t been able to amass all their oeuvre to date, I’ve followed along closely enough to be able to track their progression from an ace thrash unit into an entity much more singular. This latest release shows the band expanding on the more mid-tempo forays of recent releases, peppering their brand of pummeling hardcore with drone and psychedelic influences into an unrelenting assault on your eardrums that recalls greats like Die Kreuzen while sounding nothing like them. Believe me when I say that you’re truly missing out if you haven’t caught onto these cats yet.  –Jimmy Alvarado (Mastermind, mastermindrec.com)


BLISS / ELEGANT SOUNDS:
Split Demo: CD-R
Dunno what differentiates the two groups on this disc, but both kinda dance around the minimalist synth/darkwave pool. Some good ideas are floating around, but most of what’s here feels more like, well, demos of ideas rather than fully realized thoughts or songs. Promising, but I’d be more interested in where this ends up down the road.  –Jimmy Alvarado (joshuagalindo323@yahoo.com)


BLOODY SHOW:
Root Nerve: 12” EP
Boisterous mix of punk and maybe some mid-fi garage here. Structures are primal in much the same vein as the Stooges, with a bit less of that band’s swing in the caboose. Rude, raw, and just don’t give a fuck is the order of the day, right down to cover art that’s sure to make you do a double-take.  –Jimmy Alvarado (Bloody Show, facebook.com/bsohio)


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