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· 1:Webcomic Wednesdays #131
· 2:A Brief History of Punk in Izhevsk, Russia by Alex Herbert
· 3:#362 with Kurt Morris
· 4:Two New Installments in the Tear A Cognita Series
· 5:Webcomic Wednesdays #128


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Razorcake #87
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My Dad Went to See Some Weird Music and... by Mike Faloon
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No Idea Records

Record Reviews

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TOP SHELF LICKERS:
Heart Beats Brain: 12” EP
Top Shelf Lickers deliver overproduced, wish-they-were-popular, cookie cutter, third wave Alkaline Trio music (I will not call this punk). Six songs that felt like twenty from their generic tediousness. With Chicago’s punk pedigree, the city probably wishes TSL would move out. In a review box containing possibly the worst/most ridiculous/most misleading album art, this took the cake. Took looking at the spine to figure out the name of the band. If you’re going to get picked up by Warner Bros, hire an ad exec or graphic designer to make your cover art choices for you. Your eleven-year-old sibling likes Top Shelf Lickers because you haven’t taught them better. ‘Nuff said.  –Matt Seward (PickMeUp!, topshelflickers.com)


TOHTORI KOIRA:
Tammelan Pojat: 7”
I’ll admit that I found the cover art on this record to be a little cheesy so I wasn’t in a hurry to hear this record. But once I put it on, I was surprised. The first thing that surprised me was that it was in Finnish so I understood nothing. Next I found that these guys play good old punk rock. They sound like a Fat Records band inspired by all the good old school punk like Sham 69, Blitz, etc. Sometimes I like that you can’t understand foreign bands lyrics. You have to hear the music and just make up your own words. This record is limited to three hundred.  –Ryan Nichols (Blast Of Silence, info@blastofsilence.org)


TODAY’S HITS:
Sex Boys: 7”
Today’s Hits let fly with four songs of lo-fi, kinda surfy, kinda doo-wop sounding tunes, very much in a Burger Records or HoZac kind of style. This band is better than most these days—though I have to say I have had more than my fill of this reverb-drenched, lo-fi type of stuff. Fans of Shannon And The Clams and King Khan will find a whole lot to like here.  –Mike Frame (Randy, randyrecs@gmail.com)


TIM TIMEBOMB:
High Noon in a Dark Blue Sea: CD
Culling the quality material from the considerable chaff of Tim Armstrong’s recent “a song a day for a year” project, High Noon in a Dark Blue Sea is actually a decent grouping of a dozen songs. The dude is clearly a polarizing figure, and quite justifiably, but if we’re just looking at things from a purely musical perspective, it’s clear that he can still pen a decent punk song every once in a while. Contains a handful of originals (which are definitely the stronger work here) and some covers by Toy Dolls, Bad Religion, Psychotic Pineapple, and The Jam. Again, not a jaw dropper by any measure, but there are some good songs here.  –Keith Rosson (Pirates Press)


THREE MAN CANNON / LEE COREY OSWALD:
Split: LP
The defeated-looking old lady adorning the cover of this record didn’t give me any insight as to what these bands were going to sound like. Three Man Cannon have a nostalgic indie rock sound. They took me back to the early days when all these now famous bands belonged to us and not the world. The recording has a warm home recording sound to it. Lee Corey Oswald really took me back to the ‘90s and reminded me of bands like Superchunk and Pavement. Both of these bands complement each other really well. If you miss the days of discovering underground indie bands with your weirdo high school friends, then pick this record up. A lot of band names come to mind when listening to this split, but, more importantly, it’s the time that this record reminds me of: being young, having your whole life ahead of you, and not realizing it. This split is a perfect blend of indie rock, pop, and emo. Great record overall.  –Ryan Nichols (Stereophonodon, stereophonodon@gmail.com /Black With Sap, blackwithsap.limitedrun.com)


TERMINUS:
Going Nowhere Fast: CD
Another long-forgotten album gets the Boss Tuneage Retro treatment. This time it’s the turn of the mildly eclectic Terminus and an album originally released in 1990 on the Words Of Warning label. I remember hearing the band back in the day and am still taken aback at how it managed to bring in so many influences into its music, ranging from folk to punk and metal to anarcho punk. As the album was recorded over a period of time, the quality varies a bit across the fourteen songs but that doesn’t diminish the impact the band made in standing up and fighting against the inequities of the world—the fact that many of the lyrics are still relevant today is a scathing indictment of the lack of progress made by humanity in twenty-four years. The mix of gothic, low tone vocals ties in nicely with the more metallic guitar work; this is one of the reasons why Terminus stood apart from a lot of the bands I listened to at the time. This has aged well and is one of the best of the retro series releases. –Rich Cocksedge (Boss Tuneage, bosstuneage.com)


TEAM UGLY:
Screaming in Tongues: Cassette
Captivating avant-garde post-rock from Auckland. They don’t exactly sound like The Clean or Toy Love, but I can’t help but toss those names in the hat. Not merely because of proximity, of course. There’s a strong Flying Nun influence on these tracks, given the general uniqueness to them. Definitely worth keeping your tape deck for a few listens.  –Steve Adamyk (Melted Ice Cream, meltedicecream.co.nz)


TAXPAYERS, THE:
To Risk So Much for One Damn Meal: LP
On the surface, The Taxpayers are derivative of folk punk which is synonymous with shrill, belting vocals, confessional lyrics, and open chords instead of those power ones, but they’re actually more akin to authentic folk: class discontent, lyrical, acerbic, humble musicianship, jaunty, and weary. Although the LP is a maelstrom of disappointment and deep contemplation—this isn’t the sound of apathy. Case in point: “Everybody Just Stood There” functions poignantly as a companion to Andrew Jackson Jihad’s “Guilt: The Song.” Both are tales of numb observers to public tragedies. Both narrators are remorseful. Yet, this isn’t the sound of complacency, either. If we lent a hand, if we didn’t just stand there and casually watch suffering, then we might be just an inch closer to feeling guilt free. This is the sound of direct action, direct human contact. Modern life has afforded us the opportunity to play music on a spinning petroleum-based plastic disc, but simultaneously left us floating listlessly, frothing for purpose. The Taxpayers provide a temporary remedy: distilled storytelling. Each song resonates like a chapter in a larger narrative. You can choose to follow the threads, or nod your head to the snappy folk orchestra (banjo, piano, accordion, saxophone). Regardless of your choice, there is no incorrect means of ingestion as all leave an indelible impression. Note: “Some Kind of Disaster Relief” is a dead ringer for the Big Time version of Tom Waits’ “Telephone Call from Istanbul.” That’s a damn good thing.  –Sean Arenas (Plan-it X, plan-it-x.com)


SWEARIN’:
Surfing Strange: LP
My expectations were too high for this record. Swearin’s self-titled LP floored me. It filled the void after P.S. Eliot’s break-up and provided so many memorable, angst-riddled anthems. Sadly, Surfing Strange left me mostly bored. The two opening tracks (“Dust in the Gold Sack” and “Watered Down”) are both robust and understated; the perfect songs to draw you right in. Then comes the overly long, Breeder’s homage “Mermaid”—at that point, Swearin’ spit me right out. What follows are a series of lazy, fatigued ballads and derivative tunes. “Echo Locate” and “Unwanted Place” are exceptions, but they rely too heavily on the StephenMalkmusSchool of ‘90s Progressions. Ultimately, the major issue is that the record has several dry spells, and the strong songs are book-ended by underwhelming, rail-thin tunes. This would have been an incredible EP rather than a full-length. Bummer.  –Sean Arenas (Salinas, salinasrecords.com)


SUPERSUCKERS:
Get the Hell: CD
Right off the bat, I must say that I have never been especially fond of this band, even at the height of buying multiple records from bands like Candy Snatchers, Electric Frankenstein, and The Humpers. My standard line in the ‘90s was that I had never heard of a more aptly named band and though I have stepped back from that stance, I have still never really been able to get into the Supersuckers. Sure, the country record was alright and that song “On the Couch” was awesome, but it was awesome because it didn’t sound like the other stuff by this band. However, after a decade-plus living in Seattle, I came to really respect this band for sticking to their guns and being very cool in regard to helping out with benefit gigs and other stuff around town. Just like Death Cab For Cutie and Pearl Jam, I never warmed to the music but have come to respect the bands and the way they conduct themselves. In the case of the Supersuckers in particular, I also had to admit that former guitarist Ron “Rontrose” Heathman is a kickass guitar player once he joined the Hangmen and really took that already great band up a notch. Having said all that, listening to this record makes me realize that the Supersuckers have turned into a good band, if still not really my thing. Laying off the gas a little for a more mid tempo sound really makes a difference, just like it did for the Hellacopters when they finally put out their classic album Rock N Roll Is Dead right before breaking up. I am hearing cops from Mudhoney and even what seems to be a Descendents influence on “Something about You.” Nearly thirty years on, this band has been doing their thing nonstop. They are better now than they have ever been; there’s a lot to be said for that.  –Mike Frame (Acetate)


SUNNYSIDE:
Welcome to San Diego: CD/LP
Listening to Sunnyside’s debut full length gave me cause to consider a whole multitude of bands that I was reminded of across the fourteen tracks. The most obvious is the Social Distortion-like swagger that Sunnyside has, which, in places, is blended in with an early Stiff Little Fingers quality as well as having a punch-drunk looseness I associate with Dillinger Four. Vocally, it’s a mixed bag, too. At times I think I’m hearing Mike Ness, others Blake Schwarzenbach (Jawbreaker) and, incongruously, even Butch Klotz of 30 Foot Fall. Despite the name checking above, this record easily manages to stand alone as its own beast with a number of songs having the ability to sound like old favorites after just a handful of plays. This is very good stuff indeed.  –Rich Cocksedge (A.D.D. / Eager Beaver / Little Deputy)


SUN SICK:
Self-titled: LP
Artwork is important to me when I pick up a record; it’s the first thing you see. I feel sorry for those downloaders out there who miss out on this part of the experience. With that being said, I really liked the artwork on this record. It just looks fun and, sure enough, it was an accurate nod to the direction of the sound of this record. Sun Sick play beach punk that reminds me of The Hives a little bit. These guys are from France, so I image bathing suits are optional. All the songs are in English, which is fine, but I can’t help but wish they were sung in French to set these guys further apart from everyone else. They have a spazzy sound full of guitars covered in reverb, bratty vocals, and plenty of tambourines. Fans of The Tijuana Panthers would like these guys. Overall, this is a fun record.  –Ryan Nichols (Lollipop, lollipop.records@wanadoo.fr /Crapoulet, cool@crapoulet.fr)


SULTAN BATHERY:
Self-titled: CD/LP
First of all, if there were awards for the best cover art, this band would win all the trophies. It also does a very important job: it gives you a good clue about what the music might sound like. Sometimes cover art is misleading (or doesn’t give you a lot to go on), but this is loud and clear about being some trippy, druggy rock. On garage fuzz, this album delivers. The vocals remind me of early Black Sabbath. I think that most of these songs would be a good soundtrack to a movie set in late-’60s England about a ragtag group of long-haired screw-ups who are plotting to rob a bank.  –Bianca (Slovenly, slovenly.com)


SUBSETS:
Ape Facin’: 7”
The title track opens with a tense, ominous riff. The menacing atmosphere hangs heavy over the rest of the EP, which takes most of its cues from brooding ‘70s and ‘80s punk like Agent Orange and T.S.O.L. It might be the gloomy reverb or the singer’s gruff growling, but something about this Cincinnati band is also giving off a heavy U.K. vibe, reminiscent of Oi Polloi’s darker moments. “I Don’t Wanna Be Here” is poppier but somehow no more upbeat, landing somewhere between The Ramones and crippling depression. I want the band to know that it literally started raining outside when I put this record on.  –Indiana Laub (Granado, granadorecords.blogspot.com)


STRANGE ATTRACTOR:
Back to the Cruel World: LP
Am I fucking nuts or does this band have something to do with the criminally underrated band the Statues? I have no idea, but how many punk rock aliens live in SudburyOntario? I’ve always said the best music comes from places that are hostile and inaccessible; no peers to impress, no chicks to pick up on, allowing musical freaks to be free to go wild uninhibited. Case in point this band… or person, or group of extra terrestrials, this is mind-blowing freak punk. Taking the best aspects of hyper obscure Killed By Death punk from Canada like the Red Squares, Proles, Hot Nasties, and other no-marks who have had record tweakers freaking out for decades. This slab isn’t just some throwback; those names were just starting point. If you are new to the game, think Ty Segall or some hip shit mixed with the Angry Samoans or some other loose ne’rdo well punk band full of fuck ups. I’d love to be wide eyed and sixteen again thinking every cookie cutter piece of shit was the second coming, unfortunately a lot of new shit bores me to tears. This record blew my ears clean off my bald head. You need a blueprint or a fucking roadmap how to make dense, strange, interesting, elusive punk? Look no further. Top ten shit. Bet it’s sold out.  –Tim Brooks (FDH / Mammoth Cave Recording Co. / Resurrection)


STIFF LITTLE FINGERS:
No Going Back: LP/CD
Stiff Little Fingers has been my constant musical companion for over thirty years and the band’s first album in over a decade has left me devouring the record for days now. It really is an outstanding release and for anyone who has kept in touch with the last five albums released since the band reformed, this one knocks spots off all of them—it’s also better than Now Then, the final album before the band split in 1982. It’s great to hear Jake Burns’ voice and distinctive guitar flourishes on these new songs whilst Ali McMordie still knows how to knock out killer bass lines to maintain a song’s momentum. The lyrical content is a mix of socio-political and personal themes, with Burns showing that he still has the knack for songwriting, resulting in a collection of highly memorable and catchy tunes. The band recorded and produced this record using funds obtained via a PledgeMusic campaign, having been disenchanted with discussions with various labels, and this approach has worked out well for the band. Even as an unabashed fan of the band, I hadn’t expected something as good as this. I’m tempted to give it album of the year status already.  –Rich Cocksedge (Rigid Digits, slf.com)


SPRUCE BRINGSTEEN:
Game On!: 10”
Wow. Do you hate fun? ‘Cause, apparently, Too Many Daves has recorded a Mean Jeans tribute 10”! If you can put your beer down long enough and you’re not too drunk to use a computer, you should probably order this right now. Spruce wrote a song about “B.U.D.L.I.G.H.T. Lime” for cripes sake! (Warning: the grainy photo covers are the only poor piece of this release. Don’t you guys know any cartoonists/artists?) Seriously though…brilliant name, brilliant record. Unless you hate fun.  –Matt Seward (Do What?, therealsprucebringsteen.bandcamp.com)


SPOKENEST:
Destroy, Gone, Listen, Lose: Cassette
Spokenest demands you to get off your ass. Don’t become a blob, a gelatinous mass that consumes day in, day out. Take a walk. Get your hands dirty. Notice your neighbors. Make or support something of value, a value that isn’t monetary. Dollar signs won’t give you perspective. Spokenest demands accountability: “Is your voice, your voice?” Sincerity isn’t a tempo or a slippery heartsick crooner with pomade-greased hair and an acoustic guitar, but the ability to bypass bullshit. With the smokescreen cleared, music is no longer expected to be pretty, pristine, but simply honest. Honesty is more valuable and rarer than any precious metal. Spokenest demands transparency. There’s nothing perfect about this four-song cassette, but I wouldn’t have it any other way. I don’t trust anything too slick or too choreographed. The chords are serrated, the drums wallop, and one voice barks while the other belts pure melody—it’s a noise that’s damn near impossible to co-opt. This two-piece is both a literal marriage and a Tesla coil. They spark those around them and lovingly supercharge punk culture with numerous contributions: music, art, and zines. “What are you gonna do?” they shout. There’s no right answer, but a million wrong ones; I plan to keep listening and, in due time, pass the tape along.  –Sean Arenas (Self-released, spokenest.bandcamp.com)


SPITTING IMAGE:
Love on a Terror: 7”
I’ll start off with my only criticism of this record, the artwork. I don’t get it. But do not let the cover fool you. Imagine if Nation Of Ulysses were from the desert and you’ll have an idea about Spitting Image’s sound. They have a very Northwestern post-punk sound mixed with spacey desert rock on this record. These Reno boys have been playing for a while now and getting better and better by the release. “Love on a Terror”is a mid-paced, post-punk song with a lot of angst that crawls to a near six-minute end. “We Begin” is a bit more intense and spacey sounding. I saw these guys play last year and was super impressed by their live intensity. Spitting Image is doing punk rock right and I, for one, can’t wait for the full length. Buy this record.  –Ryan Nichols (NGTV SPC)


SPACE WOLVES:
III, IV, The First Year: Cassette
The First Year is a collection of all four previously released cassettes by Buffalo’s Space Wolves, including III and IV, so don’t mind if I do kill three birds here. The track listing looks and reads like Descendents’ Somery album replete with twenty-five songs about girls, ridiculously short songs, and short songs about girls. Although I’m positive that Space Wolves are fans of Milo and co., their sound is more comparable to low-fi garage and power pop than melodic punk rock. The vocalist at times sounds an awful lot like Morrissey, although I’m sure he doesn’t take himself nearly as seriously as the old suede head. The key to compiling four separate releases onto one cassette—and not making it an endurance test to listen to—is to keep the songs incredibly catchy. Space Wolves certainly hold up their end of that deal. Enough with these tapes, let’s get some vinyl pressed fellas!  –Juan Espinosa (UT, space-wolves.bandcamp.com)


SONIC DAZE:
First Coming: CDEP
Italian four-piece that has been around since 2010. This is the second band from Italy I have written about in this batch. I’m getting hungry for some pasta! But back to the music. Four on the floor garage rock is the soup du jour. You know the drill. Well played. I just wish they had coordinated their inside cover picture a bit more. Either all band members wear shades, or in this case—fake it and have the other members wear fake eyeglasses. Without unity, all we have is chaos!  –Sean Koepenick (Self-released, sonicdaze@libero.it)


SNEAKY PINKS, THE:
“I’m Punk” b/w “Puke Pudding”: 7” EP
I couldn’t tell whether “I’m Punk” is facetious mimicry or a degenerate declaration, but then I realized that I’m totally over thinking this. I mean, these dudes put their first record out on Bubbledumb, which actually kinda nicely sums up the sounds contained herein. Snotty, lo-fi Ramones worship for all the glue sniffers. Once I decided to stop thinking and just listen, the track slayed. The backside is even less together than the front, like it was demo fuckery, yet it still sounds like it coulda been on Recess’s Hot Curly Weenie 2, which is bar-none my favorite sampler comp ever. Fun times. The dude from Nobunny constitutes half this here group, should things like that be of concern to you.  –Vincent Battilana (Almost Ready, almostreadyrecords.com)


SLAVESTATE 641A:
Masochist: Cassette
This is grating, droning noise grind. Think: Shellac guitar tone and Bastard Noise textures, yet without either band’s fury or inventiveness. Nothing about this tape is accessible, but somehow wholly predictable. (For a six-and-a-half minute song, “Screwdriver” is numbingly repetitive.) All atmosphere, no substance. A slow motion mindfuck. The liner notes are pretentious to boot: “Thank you to those who served as sacrifices. Thank you for the touch of entropy on your body.” The title is fitting, because I can’t recommend this tape to anyone except to those who welcome pain.  –Sean Arenas (Laugh Now, laughnowrecords.com)


SKEPTICS:
Black, Lonely & Blue: LP
French garage with reverby male vocals augmented by reverby female backing vocals, garnished with the occasional hunk of fuzz over the top. FEEL THE SNARL OF THE RELENTLESS TAMBOURINE! Pebbles for breakfast, now and forever! This doesn’t really reinvent the genre or anything, but this is a genre that does not unduly esteem self-reinvention. BEST SONG: “Too Much to Bear.” BEST SONG TITLE: “Black, Lonely & Blue.” FANTASTIC AMAZING TRIVIA FACT: Sadly, “Everything I Do Is Wrong” is not a cover of the old Me & Them gem, but, on the bright side, “Sweet Mary” is not the Steve Miller song of similar nomenclature, either.  –Rev. Norb (Groovie, groovierecords.com)


SIGNALS MIDWEST:
Light on the Lake: LP
Signals Midwest is one of those bands I’d heard plenty about in various circles for the past few years but had never gotten around to actually checking out. There’s a lot about this that I dig. The little American Football-esque lead flourishes, the often Bob Nanna-esque vocal delivery, the general late-’90s Midwest emo worship… but there’s something about the sum of the parts that doesn’t sit right with me. I think perhaps it’s just a bit too slick for my liking. Part of the charm of the ‘90s emo era was its rough-around-the-edges-ness that kept it rooted in the punk / hardcore scene of the time (which was likewise quite prone to melodrama), but when delivered via modern machines it seems to lose much of the scrappy urgency that had me in sweater vests for a good two years.  –Dave Williams (Tiny Engines, tinyengines.limitedrun.com)


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