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· 1:Featured Record Reviews From Issue #81
· 2:#327 with Kurt Morris
· 3:Punk Parenthood for the Sleep Deprived
· 4:#328 with Bianca Barragan and Simon Sotelo
· 5:Creepy Emphera #1: Cadaver Synod


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Razorcake #81
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Nights and Days in a Dark Carnival by Craven Rock
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Record Reviews

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WHITE WHALE / MALLWALKERS:
Split: 7”
White Whale play pissed garage punk with trace amounts of snot. It’s quite conducive to bopping your head up and down to, whether or not they want you to enjoy it. The driving bass lines are the clinchers. Fans of Chicago garage punk bands take note. Mallwalkers are Buffalo, NY’s answer to Black Randy & The Metro Squad, only thirty years later. Soul-inspired punk (with horns) that must mandate a party. Finishing up their side of the split with the finger pointing track “Lo-fi Losers,” you just get the feeling that they must absolutely kill live. Contains members of Everything Fall Apart, Unwelcome Guests, Get Bent, and other Buffalo punk bands. –Daryl Gussin (Subject / Feral Kid)


WHATEVER BRAINS:
Self-titled: LP
Chaotic, wild, fucked up, drug-fueled, spastic—these are all descriptions that are more than fitting and likely lobbed at Whatever Brains quite frequently. I reckon their starting point is some dank corner of the garage rock thang, but they drown it in synths and a whole buncha other crazy shit and fuel it all with a manic energy that would make Polysics or Le Shok green with envy. Some cat you hate havin’ around ‘cause he’s a complete asshole? Plop this on the ol’ record player when he’s peakin’ and watch the fucker’s head explode. –Jimmy Alvarado (Sorry State)


WEIRD PARTY:
Honey Slides: 7” single
Decent single here. “Honey Sides” is a pretty straight forward garage-style song that has a little bit of attitude, but not enough to be convincing when you’re singing about being a maniac. If you’re going to sing about it, play like you are. A little more fire and abandon is needed to send this song over the edge. The flipside, “Sarah Palin” is better. It has more going on to hold your interest and warrant repeat listens. The low end that comes in with a thud at the beginning is what grabbed me. The vocals during the chorus hinge on Doc Dart at times, which is cool. I like how the chorus contrasts with the rest of the song and is effective at hooking you in. Never thought I’d like anything with Sarah Palin’s name on it, but this is a pretty good song. Is it about her? I have no idea. But they say, “Her eyes are filled with terror baby / It smells like the stench of a dead cow.” –Matt Average (Sex & Death, sexanddeath.bigcartel.com)


WAX IDOLS:
“All Too Human” b/w “William Says”: 7”
Sixties-influenced dream pop with a sloppy, almost sludgy delivery and a noise element to it that’s just barely this side of The Jesus And Mary Chain. –Jimmy Alvarado (Hozac, hozacrecords.com)


WASTED:
Outsider by Choice: CD
The latest from this long-running band. They’ve always reminded me of Rancid, with their romanticization of struggle and the streets, poppy leanings, and U.K. influence filtered through ‘80s U.S. punk. However, Wasted are less polished, less Clash influenced, not as corny lyrically, and have a slight hardcore sound. This is a decent outing. There are some missteps, such as the ska-inflected “Doom Train.” But then you have a song like “Burn It Down,” which is the best song on here, and it definitely catches your attention with its driving tempo and tuneful style. This disc also includes their Modern World Is Dead EP, which is pretty good for this style. The recording is rougher than what’s on the Outsider by Choice album, and, as a result, has more punch. –Matt Average (Combat Rock Industry, combatrockindustry.net)


VULTURES UNITED:
To Live and Die in Gainesville: 7” EP
Mid-tempo rhythms and lotsa screaming about wanting to live in the titular city, Sarah Palin being an idiot, Italian fascist organizations, and a cover of a Good Riddance tune. –Jimmy Alvarado (Kiss Of Death)


VARIOUS ARTISTS:
Terminal Decay: LP
Compilations have always played a big part in the spread of punk rock. From early gems like Let Them Eat Jellybeans and Flex Your Head to early to mid-’90s CDs like Punk Sucks or Punk USA, it was the best way to find out about band you probably wouldn’t have heard about otherwise. At some point in the late ‘90s, the compilation was more of less replaced by the label sampler. There were still good things about these (cheap, and lots of bands), but the art of building a solid compilation was becoming lost. It’s a good thing that Welly knows a thing or two about what a compilation is supposed to be. He has managed to put together a stellar group of international bands in a way that fits together like the pieces of a big punk rock puzzle. The songs all work individually, of course, but when put in a certain order with all the other songs, it becomes an entity of its own. There are several bands that I already know and love on here (Night Birds, Arctic Flowers, Off With Their Heads, and Rebel Spell) and a bunch of stuff that is new to me (1981, Bad Sam, 40 Hells, and Agent Attitude, to name a few). It feels and sounds like a classic punk compilation to me. Throw in an amazing new issue of Artcore zine with interviews with the likes of Arctic Flowers, Night Birds, and 1981 and this comp is coming up a winner every time! –Ty Stranglehold (Artcore, artcorefanzine.co.uk)


VARIOUS ARTISTS:
Spokanarchy!: CD
The soundtrack to the documentary of the same name, this album features Spokane, WA punk bands of the ‘70s/’80s whose stories are documented in the film. The bands featured run the gamut of what can be defined as punk, and there’s an eclecticism here that I really enjoyed. The bands that particularly caught my ear include Sweet Madness, TFL, Vampire Lezbos, and Social Bondage. Sweet Madness, the earliest band featured, have a very Clash vibe to them with their catchy tune “I Need Electricity.” TFL play angry hardcore punk that would have been at home in any of the larger punk scenes. There were several bands with a new wave vibe, and of these, Social Bondage was the most standout band. Politico-punks Vampire Lezbos were fast and angry, like TFL but with more rock’n’roll vibe. This soundtrack does an excellent job of documenting an overlooked scene, one of many that quietly helped shape punk as we know it. Recommended. –Paul J. Comeau (Flat Field, flatfieldrecords.com)


VARIOUS ARTISTS:
Portland Mutant Party: 7”EP
First up: the almighty Mean Jeans! Have they ever written a bad song? Ramonescore for people who don’t really like Ramonescore but totally like to party. Therapists: despite their best efforts, it is rare for bands to pull of such a convincing Circle Jerks impression. No disrespect intended. I think I’m a fan. Chemicals: Snotty as hell garage rock with tasteful keyboards. Leaders: quirky punk, akin to Killer Dreamer. I didn’t know this record existed and I’m excited as hell it ended up in my pile for review. A great comp! –Chris Mason (Jonny Cat / Portland Mutant Party)


VARIOUS ARTISTS:
Either or Sucks: A Tribute to Descendents: CD
As tribute records go, this one would definitely rise to the top in my stack. Mostly unknown bands tackle the vast catalogue of this top notch outfit. Caleb Lionheart and The Tired And The True are my favorites here. Call It Quits’ bludgeoning take on “Bikeage” makes me want to hear Face To Face’s take again. Hospital Garden sounds like they have J. Mascis guesting on vocals, which seems a bit odd. But, overall, this is definitely worth giving it a spin. –Sean Koepenick (Either/Or Records)


VARIOUS ARTISTS:
A Ray of Hope: CD
Underground music changed once the idea of a compilation album disappeared. Sure, label samplers still pop every now and then, but it’s a slightly cheaper version of a great concept. Granted, I wasn’t even around for the comp CD heyday, but I really wish it were still around. Eager Beaver put together a great comp of a ton of bands (mostly American, mostly gruff pop punk) to help raise funds for the recent earthquakes in Japan. In the grand scheme of things, I know that no punk comp is going to create a huge splash in the charity efforts, but it’s beautiful that CD exists in the first place. I highly recommend that you purchase a copy. As a reader of Razorcake, you’re probably already familiar with a good chunk of the bands on it, but your car could probably use another mix CD. (This review is not intended as an insult to anyone who does not own a car.) –Bryan Static (Eager Beaver, eagerbeaver.shop-pro.jp)


UNDERPARTS:
Drown in This: 7” EP
Operation Ivy moves to Germany, ditches the ska, and embraces pop punk. –Jimmy Alvarado (Yo-Yo)


UH OH:
Self-titled: LP
Unpretentious, catchy punk with hooks galore that kids in basements everywhere should be trying to emulate if they know what’s good for them. Uh Oh figured out the formula and got it right on. This fourteen-song LP punk’n’rolls from start to finish, turned sonically to ten all the way through. It’s rough and aggressive enough that garage punk crowd might like it, yet hooky enough that the pop punk crowd won’t be able to deny it. Absolutely recommended. –Mark Twistworthy (HS!BF)


TY SEGALL:
Singles 2007-2010: 2 x LP
To no fault of Ty’s talent, I hadn’t heard much of his output before this collection. Yet, it sounds so familiar, like I knew plenty of these songs but didn’t own any. I know the following may sound bad, but I don’t mean it that way. Ty Segall, to me, plays easy-to-listen-to-psyche and garage. He’s got chops and a deep understanding of melody, groove, and reconsideration of the linearity of time. And who am I to begrudge a musician who’s got a working understanding of Kinks, Blue Cheer, The Creation, MC5, The Peanut Butter Conspiracy, and the Stooges? One way to look under the rug is pretend that 1975 clicked right over to 1995 Memphis and Toe Rag Studios. One day, everything was proto-this, proto-that, psyche-this, folk-that, all before punk crested and crashed, then the next day, everything was looking back twenty years. Gories, Oblivians, Headcoats, Country Teasers, Devil Dogs with passing blushes of what most of the world considers meat-mohawk-spikes-snot punk rock. It’s an interesting way to approach aggravated, scratchy music and I’m half-surprised this retrospective wasn’t released on reel-to-reel. I don’t want to say Ty’s a mockingbird, a mimic, because there’s no back hand to this compliment. He’s the glue in the collage. You may have heard this before, too, but not quite assembled the same way. Pleasant and oddly comforting, yet raw, alive, and sticky. His music sounds red, with purple flashes. Longhair soul that got a haircut? That probably makes no sense. Hey, Emily! –Todd Taylor (Goner)


TWO FUNERALS, THE:
Boys Club: 12” EP
Three songs mixing mid-’90s DC rhythms with riot grrrl politics. The band has an undeniable musical chemistry, especially when the bass and guitar switch off as the lead instrument, but the vocals pop up randomly like an afterthought and the songs wander too far between bursts of energy. I wish I could boil this record so that the excess melted away and I was left with a dense chunk of the urgent, passionate, and unique music that is buried inside. –CT Terry (Rorschach)


TUNAS, THE:
“Feathered Fish” b/w “Lester Bangs Is Dead”: 7”
Smart cover—”Feathered Fish” is an obscure Arthur Lee composition originally performed by the Sons Of Adam (a band that featured Randy Holden, who later cut the brilliant Population II record). B side is great garage punk track (sounds sorta like The Last) called “Lester Bangs Is Dead.” The Tunas are from Italy, Primitive Records is from Italy. Scary as hell how on top of American rock’n’roll the Italians are. Geez. Get me a visa already! –Ryan Leach (Primitive, myspace.com/primitiverecord)


TUNABUNNY:
Minima Moralia and “(Song for my) Solar Sister” b/w “Airport”: LP and 7"
Up until now, I had heard but one song from Tunabunny, “Outer Space Is the Center of the Earth,” but that one song took up the entirety of one side of a 12”. I picked up that record for the band on the other side, Hulaboy. That song was a good spacey, recursive number that was a bit hypnotic. The tracks found here are more in line with more traditional songs. They definitely have an entrancing and hypnotic edge and they retain the spaced-out, breathy female vox, but they also have an undeniable outsider pop catchiness—something I didn’t get in their split 12”. They remind me of Sonic Youth at that band’s most accessible, but I don’t think that they sound like each other. Damn fine music happening here. –Vincent Battilana (HHBTM)


TRUE RADICAL MIRACLE :
Cockroaches: LP
The mere mention of the word cockroach is enough to turn stomachs and conjure up thoughts of discomfort and phobias. I can only speculate that such was the intent of naming an album after a repulsive pest. Musically—it may be a bit hard to imagine—but if there’s anything beautiful about Rudimentary Peni’s Death Church, then these guys definitely see it through a scope shared by noise rock giants Shellac and atmospheric doom pioneers Neurosis. By most people’s accounts, this would definitely qualify as alienating anti-music, due in large part to a very detached vocal style and barely noticeable guitar work. The few who possess the ability to appreciate audible discordance will relish in this. –Juan Espinosa (Iron Lung)


TRMRS:
Sea Things: LP
Behold, the audio from an unholy beach party wherein Eric Von Zipper and his nefarious gang of Ratz sacrifice Annette ‘n’ Frankie to Satan. To celebrate, they eat peyote buttons and sing the hits off the soundtrack to Beach Blanket Bingo backwards whilst clanging on pie tins in a deeeeeep freeway tunnel. –Jimmy Alvarado (Dead Beat)


TOTAL CHAOS:
Battered and Smashed: LP
How’s this for a Fantastic Amazing Trivia Fact: Before this, i’d never heard a Total Chaos record before. I guess they just never really seemed like something i’d be into, plus i was always sort of offended by their name. I mean, isn’t there sort of an unwritten rule of punk band names that, if you use an element of a pre-existing band name, you hafta put your own creative twist on it? Like, i was in a band in the early ‘80s called “Suburban Mutilation,” which isn’t a particularly great name, granted—but still, there were the Suburban Lawns, and a few other Suburban-this’s-and-thats, so “Suburban” was kind of taken as a band name root word—but no one ever used the word “Mutilation” in a band name before, so we put that together with the “Suburban” part and it was kind of acceptable that way. Now, if you take “Chaos” as that same kind of a band name root word that “Suburban” was, there’s been Intensified Chaos, and KAOS, and Kaaos, and Kaos 64, and Chaos U.K. and Chaotic Dischord and who-knows-what-all-else kinds of Chaos in band names, so, to me, “Total Chaos” just doesn’t cut it as far as putting enough of a unique twist on the whole “Chaos” root word to make it an acceptably different variant per our unwritten codes of punk rock handed down through the generations. Quite frankly, “Total Chaos” looks like something that a BBC television producer would tell Vyvyan of the Young Ones to write on the back of his vest, whether he wanted to or not. I’m not sure what that has to do with the record. Anyway, I found the album, on the whole, to be halfway decent. With the exception of a too-slick kick drum sound, i thought the playing and production seemed pretty crisp, with those occasional little melodic street punk guitar noodlings up the neck to keep shit properly perky. I pretty much closed my tab and left the whole U.K. punk thing around 1983, as it seemed like album after album of endless regurgitations of the same thing ((wow, ten more albums that sound just like my Abrasive Wheels album, which already sounds like ten other albums i just got!)), with actual inspiration or innovation long departed for greener pastures; for better or for worse, that era seems to provide substantial inspiration here, with an occasional nod to Discharge-esque poli-minimalism ((“POLITICAL REPRESSION! POLICE STATE! BRUTALITY! POLITICAL REPRESSION! POLICE STATE! BRUTALITY!”)) thrown in for good measure. Lyrically, it’s mainly a guy who knows nothing about politics expressing his rather unoriginal views on politics, which is, to be fair, no great shame in the world of punk rock. I cannot say that this record has rightfully driven me down to the spike and paint store for spikes and paint, but i can say that it beat the spread. BEST SONG: “Delirium” BEST SONG TITLE: “Riot Heart” FANTASTIC AMAZING TRIVIA FACT: Album cover and innersleeve feature multiple photos of a punk getting his head kicked in by cops. I would have liked to have found out more about the specifics of this incident; perhaps on the next record there could be more time spent disseminating information like “why is the punk getting his head kicked in?” and less time spent thanking big-name bands and exotic foreign countries with whom they are intimate. –Rev. Norb (Voltage, voltage-shop.com)


TETHAUM:
Hexagram: Cassette
For anyone who, like me, has found themselves twisting on the end of a string dangling from the koan “what’s the sound of a fecal plug forming in the ass of a hibernating bear,” Tethaum now provides us with an answer worthy of scraping off the bottom of one’s boots. This audio dungscape falls somewhere between one of those brainwave meditation devices and a recording of a guy who fell asleep on top of his synthesizer. After only a few minutes of listening to this, I was afloat in a laxative dream where I was synesthetically watching the barely perceptible movement of fog hanging over a belching pond of diarrhea next to an abandoned wooden leg factory. Perhaps I was a date-rape victim of all the magico-esoteric glyphs that make up the artwork of this cassette; I Ching hexagrams and western hermetic symbols that might’ve been scrawled by a waggish Aleister Crowley advertise the fact the people (or person) responsible for this cassette are acquainted with the dark arts and are probably very capable of impressive feats of sorcery. They’re certainly adept at casting narcoleptic spells. I kept waiting for the pulseless dirge to eventually burst into some crushingly industrial-metal doom chord riffage, ala Godflesh or Enemy of the Sun-era Neurosis, but it never happened. Or if it did, then I had obviously dozed off by that point. If there is a point to this murky music-less music, then I guess it’s lost on me. But it’s sure to tickle the gloomy bone of sulky darksiders who like to sip embalming fluid and enjoy preludes to nothing. But be careful, listening to this is likely to give you eye boogers. –Aphid Peewit (Sephirotic)


TEE PEES, THEE:
Self-titled: 7”
“Budget Rock” is a bit of a dicey affair, both for the listener and those who take it on as their style de guerre. So many things can go horribly wrong—sound is either too fucked up/too clean, tunes are too simple/too complicated, dude I could go on all day with this—that it almost seems folly to even try it anymore. Sadly, way too many think that they’re the ones to try to grab the brass ring and earn a place with the likes of Supercharger, The Mummies, The Fingers, and so on. While they don’t quite reach such depths, Thee Tee Pees manage to come pretty danged close to the sweet spot for this stuff. As can be expected, they sound like shit (though not quite shitty enough, ‘cause I can still identify the thump-thump-thump as drums. Ding! One point deducted), the performance meets the requisite rudimentary requirements of the genre and they manage to convey the proper self-deprecating, “Yeah, we suck and we really don’t give a fuck if you like us or not” attitude in thought and deed. All told, they come out on top here, and with “Do the Smog,” they’ve also created a new anthem for those budget rockers who look up at the grey skies of Southern California and think, “Ahh, home.” Will it change your life? Fat chance, but it’ll keep you entertained while you wait for your turn to sell your soul to a job and have a buncha kids you can’t afford. –Jimmy Alvarado (Bachelor)


TACOCAT:
Woman’s Day: 7”
I’ve always told people they sound like a less P.C. Bikini Kill (and not just because their three to one female to male ratio), but this time around they’re a bit more bubblegum, and instead of singing about urinary track infections and wearing leotards on first dates, they’ve turned their attention to controversial (and timely!) subjects like Tonya Harding and psychic cats. All kidding aside, they’re playing my hometown in a few weeks and this new 7” has me thinking that I might just dance my ass off (and I hate to dance). Essential stuff here. –Chris Mason (Minor Bird, minorbirdrecords.blogspot.com)


SWEET EMPIRE:
The Season Needs Torches: CD
Somehow I lucked out and pulled a slew of politically astute poppy punk/hardcore releases out of the bins, and this is one of ‘em—Warped Tour-ready tuneage married to lyrics addressing racism, abortion, Emma Goldman, and so on. Nice to hear the Blink/Sum generation is finally catching on that things are a bit more dire than an inability to refrain from farting, but I still ain’t too hip on listening to them play. –Jimmy Alvarado (Shield)


STATIC RADIO NJ:
We Are All Beasts: LP
After hearing the name tossed around for years without ever checking them out, Static Radio NJ has finally wormed their way into my musical subconscious. And, surprise, surprise, it’s not bad. Lifetime meets Bouncing Souls. I wonder if they put the NJ in their name so that everybody thinks of those two bands first? There’s also that hard to avoid Hot Water Music comparison because the singer kind of sounds like a cleaner Chris Wollard. It’s not so surprising that no one’s ever authoritatively told me to check them out. The record, while solid, is no award winner. I recommend checking them out because my bet is their next record will be even better. –Bryan Static (Kiss Of Death, kissofdeathrecords.com)


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