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· 1:Punk Parenthood for the Sleep Deprived
· 2:#330 with Craven Rock
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· 5:#331 with Mike Faloon and Todd Taylor

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Nights and Days in a Dark Carnival by Craven Rock
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Record Reviews

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Wrong Side of History: 7”
All bands should listen to this record. Here is an example of a group of people getting all their ducks in a row and the end result being faultless. Earth Girls feature current and ex-members of Boilerman, Libyans, Broken Prayer, and Daylight Robbery but the music here is more reminiscent of the Shop Assistants, with a light, power pop effervescence that is easy on the ear and uplifting to the soul. It’s been sometime since I’ve heard any band capture that whole C86 sound as well as Earth Girls do here. These four tracks deserve to be listened to on repeat under a warm sun whilst sipping on a couple of cold beers.  –Rich Cocksedge (Grave Mistake / Drunken Sailor)

Friday Night: VHS Single
Look here, Durban Poison: you have picked the single most impractical format for getting your music recognized, as most people in this day and age have long since chucked their VHS players into the garbage where they belong. However, lucky for you I still have mine and it wasn’t unreasonably hard to set up. That being said, the title track “Friday Night” is a rocking little sleaze punk number dripping with the same kind of in-your-face attitude of the Neighborhood Brats, although it is a pity that the music is simply playing over a still photograph of the band because the rest of their video is a collection of live performances, vintage TV commercials, movies, and offstage antics edited amazingly well for a VHS tape. A female-led Humpers following suit nicely in rock-ability and recklessness. Enough of this retro format silliness and let’s stick to the punkest of all formats: vinyl!  –Juan Espinosa (Shake!)

How to Become a Famous Recording Artist: LP
As much as i initially tried to make quick work of this record by dismissing it as trivial stoner fluff—the cover drawing is a monkey-headed, bong-holding, underwear-clad dude with bat wings standing under a rainbow and atop a gigantic cassette—I kept finding Shit of Value here and there, and getting frustratingly sucked back into it. I wanna say they sound a little likeWiggle-era Screeching Weasel without sounding one bit like The Ramones, but that might alienate any potential constituency they might hope to accrue, and is probably more by accident by design, anyway. So then I start thinking, okay, they kind of sound like a ‘90s pop punk band, back when ‘90s pop punk bands actually had something to them other than slavish devotion to formula, I got ‘em figured out…and then, out of left field, they chuck a brass section on the end of “Brainless,” and it’s fucking brilliant, so I’m thinking that if my listening experience is a chess game, they just yelled “checkmate” while I was counting my money while I was sitting at the table, even though there was time enough for counting when the dealing’s done. THIS ALBUM WILL CASTLE YOU ON THE QUEEN’S SIDE! It will also smoke your van’s quarterpanels. BEST SONG: “Brainless.” BEST SONG TITLE: “Sleep Is the Enemy.” FANTASTIC AMAZING TRIVIA FACT: In lieu of liner notes, the record features an essay called “How to Become a Famous Recording Artist…For Dummies,” which is probably easily as funny as that book by the Phantom Surfers, Rock Stardom for Dumbshits.  –Rev. Norb (ADD)

D-Beat Machine: Cassette
I loved this, but the mix is kinda crummy. I’m hoping that’s merely a result of the cassette format and the included download code will yield a better-sounding version. Dis-Tank sound like a cross of the U.K. Subs and early Discharge—eminently satisfying hardcore that grabs you by the throat and squeezes, hard, but it’s got a few catchy hooks along the way. After each listen, I feel like I’ve been in a brutal fistfight during which I laughed the whole time I was getting my ass kicked. That’s the mark of quality hardcore! The artwork for the tape may be a bit clichéd in its photographs of WWII-era tanks, devastated cities, and heaps of bones, but I’ll let it go since I liked the music so much. Great work, guys!  –The Lord Kveldulfr (Kibou)

Self-titled: LP
There must be some kind of mistake here. The album cover says that the band here is Dissekerad but the songs sound strikingly similar to later period Totalitär. The singer for this band is even listed as Poffen. Is Poffen a common name in Sweden? Jokes aside, this really does sound an awful lot like Totalitär and the vocalist is in fact our old friend Poffen joined by fellow Swedish royalty (members of Makabert Fynd and Avskum, among others). So, as you may have already guessed, the sound is most certainly that of high octane Swedish crust / d-beat. I suppose you could say that the raspy vocal delivery is the distinguishing attribute between Poffen’s old and new bands, but that’s not to say Dissekerad doesn’t hold their own or kick some serious ass. This is still some timeless and classic d-beat flawlessly performed by godfathers of the scene. All hail Poffen and Dissekerad.  –Juan Espinosa (Man In Decline)

Three: LP
I know that I am a broken record when it comes to spouting off about the rich history of punk rock in Canada. I can’t help it. I obsess over it. From the well-known to the obscure, I love to learn about it all and records like this are a perfect way to fill my needs. The Dishrags were the first punk rock band from Victoria, BC (where I live). Three girls formed a band at the end of 1976, heard the Ramones, were changed forever, and by mid-1977 were in Vancouver to open for The Furies at that city’s very first punk show. By the end of 1979, the original group had disbanded with only their track on the Vancouver Complication compilation and a 7” single on Modern Records. They would continue as a quartet for one more 7”, but that is another story. Another original punk rock band lost to the sands of time… Almost. This record is made up of various unreleased studio recordings as well as some good quality live recordings (including their opening slot for The Clash in 1979). It’s raw, primal punk that sounds amazing! Often these “unearthed tracks” kind of records end up sounding exactly like that, but not this. So good! The record also comes with a nice booklet full of photos, gig posters, and quotes from The Dishrags and those close to them. There were two parts of this record that really made me smile. The first one is the live song intro “This song is called ‘Bullshit,’ and it’s dedicated to our hometown of Victoria.” Classic! The second, I have to ask: How tough do you have to be to finish your set with a ripping version of “London’s Burning” when you are opening for The Clash? Tougher than you and me!  –Ty Stranglehold (Supreme Echo)

Decomposition Fantasy: 12”
Grind/sludge/blast-beat wall of white noise tornado. Play it at 33 so your head doesn’t burst before the Wire cover.  –Chris Terry (Rorschach)

Self-titled: CD
Above-the-pack, anthemic punk straight outta Guadalajara. Lyrically they’re on the street punk tip, maybe a bit more politically astute than their average counterparts in the U.S., but musically they pack the tunes with simple leads that recall Peter And The Test Tube Babies more than The Virus or The Casualties. Was a bit surprised by what they delivered, which is never a bad thing, and the fact they do it well—not to mention they have the sense to make sure the two Caribbean-flavored tunes here didn’t fall into some simple ska punk pigeonhole—makes it all the better.  –Jimmy Alvarado (DDR Punx)

131313 – Malchance: CD
I swear this is like the tenth Destructors release I’ve reviewed and probably the best. The Destructors were a second tier studs and spikes band back in the early ‘80s and their meat and potatoes plod punk had a little charm, I must admit. This release doesn’t sound anything like the band of old, but does boast some of the original members. This is speedy generic “punk” made by a bunch of fat fifty year olds. In the day and age of visceral, exciting punk bands across the globe, this is pretty much the last thing I need to hear. Their mangled version of “Eleanor Rigby” almost made my ears bleed. I’m sure there’s an audience for this band at a prehistoric event like Rebellion Fest where they get to play alongside a bunch of other second rate bands from the early ‘80s. Me? I’ll be hitting repeat on the Warthog disc.  –Tim Brooks (Rowdy Farrago)

Electric Demon: CD
I usually expect the grimier side of the rock’n’roll spectrum from Zodiac Killer records. This is not grimy. The label must be trying to diversify. It works. This CD has all of the mandatory, rollicking rock energy. I don’t want to say it’s clean, because it’s not clean. Maybe it’s more focused. Maybe it’s more precise. The Deadvikings know exactly how to use their weapons. Not a single bass line meanders. The drums are going to beat on you so hard you’re not going to be able to stop nodding your head. You’re going to get slapped in the face with some rollicking guitar solos, and you’re going to beg for more. You’ll probably even try to sing along, and it will sound terrible. But you’ll keep doing it, because you love it and you can’t stop. –MP Johnson (Zodiac Killer)

Slave: 7”EP
Part of Profane Existence’s onslaught of limited edition singles, this trio out of Austin, TX smolders. With members of World Burns To Death, Scarred For Life, and Till Death, their slice of d-Beat is crust and shoulders over the rest. These three tracks of pissed-off fuck you vocals and chainsaw guitar dirge start in with “Suffer,” which ebbs right into “Sinister Minds,” a double kick drum affront to warmongers and national security. “Employment of Slaves,” adds to the anti-corp polemic on the problem of work, throwing in a sound bite of ‘80s guitar solo. Tight, melodic, and raging; they’re rallying for a hanging and waving the torches. Recommended.  –Kristen K. (Profane Existence)

Raging Beast: 7”EP
This EP from this three-piece out of Ohio manages to copy and paste jangly elements of ‘60s garage while weaving in a twenty-first century flavor. Garage pop with marching drum percussion, “Turning into a Man” brings up shades of The Stones’ Some Girls with scratchy male/female harmonization, while “Everybody Else” leans into an ‘80s power chord like Cheap Trick. “Zonin’ Out” is part Animals, part Kinks with sloppy vocals that veer off key but don’t feel contrived. “Virgin Desolation” slows it down a beat with a solid guitar hook that shimmies and sways to the finish line. An appetizer to their full length, Hell Is Real—this is Friday night dance party stuff. Recommended.  –Kristen K. (Self-released)

Prost!: 7”
This band should be huge. Huge.I feel like fans of labels as varied as the Dirtnap, In The Red, and Slovenly rosters (and, fuck it, all waypoints in between) should be eating this stuff for breakfast.And lunch and dinner. This band is excellent. Four songs of what could loosely be called garage rock, but tempered and restrained garage instead of unhinged and frenzied. And here’s the thing: with DWATS, that restraint pays off. It works. The end result is a group of mercilessly catchy, solid songs that still retain just enough grit as to not be cloying. It’s the little things that add facets of interest and allure here: the interlocking guitar lines in “Thirty,” that dumb-brilliant melody in “Hopelessbackandfourth,” the buried keyboard stuttering throughout all of songs. Four tracks to add to an already awesome and extensive catalog. Do yourself a favor.  –Keith Rosson (Gunner)

Now It Can Be Told: CD
Ostensibly an album bringing together thirteen tracks from a variety of 7” singles, this is DWATS first long player since the 2012 reissue of Oh Sure. The collection serves as notice of the band’s evolution from a 1990s college/indie rock quartet to something much more distinctive and less easy to classify (although still in an indie rock vein). There are a fistful of nuggets to be heard, including “On Fire,” the one track I can provide a comparison for—Buddy Holly meets The Clash—and it’s all done in a simple yet highly effective way. If you haven’t heard the singles, then this is well worth picking up. If you have heard the singles, then get them all together in one place! Great cover artwork from Shawn C Higgins, too.  –Rich Cocksedge (Self-Responsible)

Dudesblood: CD
Dan Sartain’s records are described as influenced by blues and rockabilly, and I can feel bits of that at points herein, but, for the most part, this record is a mixed bag of musical stylings that veer all over the ludic map (in a good way) and are sewn together through techno instrumentation. The record opens with the titular rave-up, making one think that we’re in for a real raucous affair, but then Sartain yanks the rug of expectation out from under us and sends us on a meandering walking tour of the musical landscape. This is good, mind you. Highlights include Anthony Perkins’ “Moonlight Swim” and the simplistically beautiful and almost childlike “Marfa Lights,” which has a resonant and haunting quality to it—that song has stuck in my head for days, and I’m not upset about that. There is no sure way to describe this record since it doesn’t fit neatly into any one style or genre (again, a good thing). About the closest I can get is to suggest that Sartain’s musical concerns channel the spirit of Tom Waits—especially Waits’s recent work—as a means of creating coherence through a variety of styles. Good stuff.  –The Lord Kveldulfr (One Little Indian)

No Corporate Pizza: Picture Disc 7”
I don’t eat corporate pizza. Sure, you can feed a family of four for little more than five bucks but is the intestinal distress and line to the bathroom really worth it? Dan Padilla firmly plant their feet down and declare no. Finally, a more accessible ideology; the people’s slogan. The unabashed display of beer bellies on the flipside of the 7” matches the gruff pop punk delivered on both songs. After multiple listens, I’m left indifferent, but the picture disk homage to Crass is nearly worth the purchase.  –Ashley (ADD)

Self-titled: 12” LP
Female-fronted oi works for me. The focus here is good fucking music rather than all the macho baggage that can, unfortunately, come along with the scene. It’s a sound reminiscent of late-’90s street punk bands like Reducers SF and One Man Army. This is street punk with a touch of soul and a bit of style.  –John Mule (Chapter 11 / Pirates Press)

Dangerous Game: LP
This is just a damn fine glammy power pop record from this Portland, OR band. The sound is basically a middle ground between The Biters and The Exploding Hearts, but, of course, not nearly at the level of either of those two bands. Still, a power pop record that even grabs my attention anymore is something noteworthy. It seems so simple: just write great songs that are catchy and full of hooks. Yet it seems that excellent songwriting, great vocals, and strong playing have somehow become one of the rarest beasts in all of current music. The Cry! write excellent power pop songs with great hooks. Highest possible recommendation.  –Mike Frame (Taken By Surprise)

We’re in the Basement: 7”
The idea of leaving the audience wanting more taken to the extreme: there’s more runoff groove than content on this one, what with less than ninety seconds of the title track and two sub-minute burners on Side B. Not a bad strategy, all told, as I’m curious to see where the band goes from here: buzzsaw three-chord punk pop with distinctly Dan Vapid-ish vox cutting through the din.  –Michael T. Fournier (Hella Mad)

Eulogies: CD/LP
How many bands is Skottie Lobotomy in? The Visitors, Crusades, and The Creeps? I’m sure I’m missing some. The point is that the dude is prolific. And while I didn’t care for The Visitors, I love Crusades. Of the three vocalists for Crusades, Skottie’s definitely my favorite, so I was curious to see what The Creeps would sound like. It’s more like The Visitors, reminding me of a lot of 1990s pop punk, although I can’t quite put my finger on who exactly they sound like, which in my book is a good thing. Skottie utilizes the “woah-oh” to a fair degree, but it’s not overdone. Lyrically, it’s certainly more serious than The Visitors. While the lyrics are abstract, they’re a little darker. I can still dig ‘em, though. The biggest thing that struck me about Eulogies is how catchy it is. Within five listens I had a number of the songs stuck in my head. By ten listens I was singing them in the shower. Ten songs in twenty-seven minutes is the perfect length— just enough to make me want more. Ottawa does it again!  –Kurt Morris (It’s Alive)

Lost Boys: Cassette
All-female three-piece from Vancouver, British Columbia, following their debut full-length with a cassingle about the undead. The steady drums and effects pedals verge into less harsh Sonic Youth territory. Think the steady “Teenage Riot” build it, build it, build it climax of feelings until the chorus explodes and you’re dancing alone in your room screaming “VAMPIRE TEENAGE BOYFRIEND!” over and over again with the beat, so loudly and with such passion that your mom thinks you have finally lost it. A+. –Alanna Why (Burger)

Self-titled: 7”
I grew up on Adolf And The Piss Artists and that band had a profound impact on me. Their one consistent member, (who also did a stint in the Templars) Chet Knight is taking a little bit of a departure with this new project, and when this record came in the mail I didn’t know what to expect. “(If You’re a Rebel) Rebel,” is closer to his stuff in APA, as it has a strong UK82 influence like Special Duties or Partisans in the backbeat, but delivered with his signature growl. The other three songs are him finding a new home in a sound that runs a huge gamut of influences, but works cohesively when filtered through his experience. I hear a lot of pub rock in these songs as well as a strong influence from bands like Small Faces or Humble Pie. It’s funny to point that out because I don’t think these songs necessarily sound like those bands, but the arrangements are pointing in that direction (as well as the minor-key vocal melodies). “All I Need Is,” has a strong Springsteen vibe in the backbeat and vocal delivery, but it’s still so rough around the edges. Imagine a very dark, slowed down version of APA where the band moved in a more mature direction and you have a little bit of an idea about how these songs may sound. The lyrics on this record are top-notch and very personal. These are the kinds of songs that get stuck in your head and when you put the record on, you sit and really listen to it instead of just bobbing your head and telling your friends about the heavy jams. I don’t know if this is an ongoing project or just a one-off and I know that there have been a lot of personal struggles with Chet over the last couple of years, but I sincerely hope this is something that keeps going because this 7” is an indicator something great that could come down the road.  –Ian Wise (45 Revolutions, SoundCloud.com/Chet-Knight)

History: 7”
History is another winner by these vets, showcasing a band that’s been cranking out anthems for so long they’ve got it down to a science—hooks aplenty, singalong choruses, and all the subtle bits that color the whole thing in. The flip is a serviceable, if wholly unnecessary, cover of AC/DC’s “Kicked in the Teeth.”  –Jimmy Alvarado (Hostage)

Shrink Dust: CD/LP
Chad Vangaalen has called this his country album, but don’t be fooled: the use of his newly acquired pedal steel isn’t overly extensive and when it is used it’s effective. With twelve songs clocking in at forty-two minutes, Shrink Dust is the perfect length. While it’s more sedate than past albums and not nearly as weird (there’s no song titled anything as outrageous as “Shave My Pussy,” for example), it’s still got Vangaalen’s flavor of falsetto vocals, bleeps and bloops from keyboards, and an almost hypnotic beat in some songs. Many of them are tinged with sadness, more so than previous releases. (Who knew that a song about a dead dog [“Lila”] could be such a bummer?) His lyrics are still offbeat and unique: “Let’s get high on other people’s dreams” (“Frozen Paradise”) and “Cut off both my hands and threw them in the sand / Watch them swim away from me like a pair of bloody crabs” (“Cut Off My Hands”) are just two such examples. Due to the mellowness and lack of complexity, this is easily Vangaalen’s most accessible album, but it’s still got enough of his psychedelic folk influence to mean this will never be mainstream. That’s fine by me. This will be our secret pop record.  –Kurt Morris (Sub Pop)

At a Loss: CD
I recognize that Razorcake covers pop punk and that it’s still a thing and people are into that thing, and that’s great. I just feel very removed from that world. The Capitalist Kids have a name from a punk band name generator and songs that match, I suppose. If you close your eyes and think “pop punk,” you can hear the entire album, which is more of an issue than the “coolness” problem they address on their opening track (“Not ‘95”). But maybe there is no problem here. I’m with them politically, if not at all aesthetically. They’re having fun, it’s their world. Meanwhile: I’m thirty-four, and I spent the morning reading Blood Meridian and listening to the Bill Evans Trio and Miles Davis. What do I do with this?  –Matt Werts (It’s Alive / Toucan Play)

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·Razorcake Podcast #136

Black and Red Eye

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