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· 3:Webcomic Wednesdays #157
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Razorcake #90
White Murder, both LPs
Treasure Fleet, The Sun Machine LP
Razorcake #89
White Murder, Form Early LP (CLEAR VINYL)


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Record Reviews

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Below are some recently posted reviews.

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SHELLSHAG:
Forever: LP
It’s difficult to write love letters to the one you love. It’s even more difficult to write love letters to everyone you love in your life (some of whom you may not have met yet) and not have it come off as cornball shit, but as a personal, collective expression. Shellshag’s components are two great folks: Shell and Shag. Ancient black and white symbols, peanut butter cups, dots and dashes—they all become whole from slightly disparate, complementary components; they grow in meaning from context. Shellshag are also brilliant—in the bright, shining, colorful sense. Too much of one ingredient and, it’d be schmaltz or over-saturating blindness. Bells strapped to other legs could be a problem— inauthentic, gimmicky. But what you get on Forever are two independent musicians playing beautiful music to one another, and by extension, anyone else who’s willing to listen. When people say “indie rock,” this is what I wish they were talking about. Shellshag. Adventurous art without pretence, welcoming, oozing with fun, played with candor, grit, and amplification. –todd (Don Giovanni)


SHAKES, THE:
Full House: 7”
Kinda goofy, kinda rocking garage punk with elements of soul and doo wop in the backing vocals. Fans of Burger Records or Shannon And The Clams would probably find a whole lot to like from this Philadelphia band. –frame (Self -released, facebook.com/theshakesrule)


SED NON SATIDTA:
Self-titled: LP
Loud, heavy, and emotional. Some might call it screamo. It’s excellently crafted, with its peaks and troughs riding on wonderfully plotted graph of intensity. The light moments feel anxious, waiting for their moment to pounce just when the tension builds to a crescendo. Trying to make heads or tails out of the packaging is a bit of a puzzler though. Where the music makes a logical statement, the artwork is full of blurry, run together, monochromatic visuals. Even the band’s name is hard to read. For a visual representation of the music, these images visualize a chaotic, but controlled mess. All in all, it’s a metaphor I can endorse and music I can headbang to. –Bryan Static (Echo Canyon/ Adagio830/ Protagonist)


SECTOR ZERO:
“Guitar Attack” b/w “Hiding in My Car”: 7”
One of the many offshoots of Jay Reatard and Eric Oblivian (together and in their respective bodies of work). Rumor has it they played only like two shows. I don’t know if they have any other songs in the can. Memphis has the kind of town/scene/what-have-you band mix, match, and swap that simultaneously inspires me and bums me out. It’s inspiring because any group of friends should be able to get together to make some music; I’m bummed because I have so much trouble doing it within my own town. The record sounds like a Reatard/Oblivian/Goner record, which means it’s good. Guitar attack, indeed! –Sal Lucci (Goner)


SCIENCE POLICE:
You Are Under Arrest in the Future: 7” EP
Sounds like a somewhat less-glossy version of the Yum Yums trying to sound like a somewhat less-glossy version of Manplanet or a somewhat more-glossy version of the Kung Fu Monkeys. BUT FROM THE FUTURE. On my planet, this is considered an endorsement, but bear in mind we also use pudding as currency there, so adjust accordingly. BEST SONG: “The Boat Dreams from the Front Desk.” BEST SONG TITLE: “She Blinded Me with Immunobiology.” FANTASTIC AMAZING TRIVIA FACT: “Everyone in the Science Police is a real police officer and a real scientist. We would like to thank all of you for your efforts. Everything will probably be ok.” –norb (Bloated Kat)


RUST BELT DEMONS:
Never Mind the Singles, Here’s the Flexi Babies: Flexidisc
This is some great mid-tempo punk rock in the vein of The Beltones or The Randumbs. Rough around the edges in all the right ways. I like it! What I’m generally not a fan of is flexidiscs, but since the tunes are good and they made a nice, slick 7” sleeve for it, I’ll let it slide… This time. –ty (Sexy Baby)


RUNS, THE:
Pretty Girls: 7”
Four cuts of Ramones-influenced rock. The music is fast and the singer gets into Joey territory occasionally. No one song stands out, but it holds my interest for the length of the record. It’s catchy more often than not. –Billups Allen (Reach Around)


ROSE PHANTOM, THE:
Abandon: CD
Gloomy Gus rock music with synths and other instruments used in all sorts of heinous and horrifying ways. –jimmy (The Rose Phantom, therosephantom.com)


RHUBARBS:
If We Build It, You Will Come: LP
Bar punk with no edge. Zeke on downers. Nine Pound Hammer sans testicles. –Juan Espinosa (Wasted Wax, rhubarbs780@gmail.com)


REGRET, THE INFORMER:
Less than Three: 7” EP
Arty, self-absorbed, emo-indie stuff with lyrics like, “She listened to the Smiths and said I looked like Kurt Cobain/Dressed up in your celebrity skin/You would be my Courtney/Love was a drug pulling us apart.” Snoozeville. –jimmy (Stink Cat, facebook.com/StinkCatRecords)


RECORDETTES, THE:
Self-titled: 7” EP
Kitschy kung-fu pop, heavy on the candy-colored polka dots and all-day suckers. “Candy Store” is the obvious signature tune here; probably not delightful enough to surpass “Candygirl” by Candygirl as the world’s foremost Candy Anthem, but more than delicious enough to make you forget if you ever knew what flavor the clear-colored Haribo® Gummi Bears are ((i’ll give you a hint: Rhymes with “pineapple”)). “Shower Request” is a kooky instrumental, and “John Waters, Can You Please Be My Father” probably kinda sounds just like you think it does. On to the malt shop! No simple carbohydrates are safe! BEST SONG: “Candy Store.” BEST SONG TITLE: “John Waters, Can You Please Be My Father?” FANTASTIC AMAZING TRIVIA FACT: Comes in a paper sleeve version with multicolored dots on a black background, and a plastic sleeve version, with bright blue dots on a clear background! No peanut, however. –norb (No Front Teeth, therecordettes.bandcamp.com)


RAD:
Loud & Fast: LP
A friend and I always have this conversation about how some fast and thrashy hardcore bands have that certain something that other bands of the genre lack. What do these bands have that the others don’t? I’m listening to Rad, and sitting here trying to figure that out right now. A lot of bands play it fast, some are pretty good, a few are great, and good majority should just stay in the practice room. I would place Rad squarely on the “great” podium. How is it that a jaded and bitter guy such as I can be blown away by this record? I’ve heard a million (okay I’m exaggerating, but you get the point) bands like this. I have a wall of records of this stuff located right behind me, and this record will be added to that collection at some point when I feel like it’s time to file it away for a while. Whatever the case, this record rips. I hear hints of early DC hardcore like Minor Threat (guitar) and Void (the urgency of the vocals) in here, but, at the same time, these guys are not a clone and the influences are not wholesale rip offs. Maybe that’s the secret? Play your music with conviction and that will come through. They tear into one song after the other, and each song is able to differentiate itself from the other in order to not sound like one long blur (another key ingredient to being at the top of the heap). Songs like “Creep-out Crew,” “Corporate Drugs,” “This Is Not Final War,” “I’m an Adult,” and “You’re Next” (about D&D) are the stand outs amongst a very solid record. –Matt Average (Sacramento, sacramaniacs.com)


PROJECT EKAN:
Self-titled: LP
By-the-numbers Swedish modern streetpunk. Doesn’t really add or detract anything from the genre. –jimmy (Switchlight)


PRETTY BOY THORSON AND LIL HAPPINESS:
I Ain’t Gonna Beg: 7”
The world wants me to listen to Thin Lizzy. Listening to Thin Lizzy is my destiny. I am not going to resist anymore. There’s no point, because Thin Lizzy is there everywhere I turn. It’s on the T-shirt of the guy at the record store. It’s playing when I walk into the ice cream shop. My friend has even worked several Thin Lizzy-related jokes into her comedy routine. And now it’s on the B-side of this record, a cover of “Running Back,” channeled through Pretty Boy Thorson And Lil Happiness, forcing me to play it over and over again. Fine! I’m into Thin Lizzy now, okay! And I kind of like the Pretty Boy Thorson gang too. –mp (A.D.D.)


PLOW UNITED:
“Act Like It” b/w “Little Bit of Hatred”: 7”
Let me say this: on the strength of hearing these two songs (less than four minutes of combined music) I was driven to seek out and purchase much of Plow United’s back catalog. That’s some songwriting, okay? That’s how good they are. And a testament to how lucky us reviewers are sometimes. The A-side’s a cut from their new album, Marching Band, with the flip exclusive to this record. Both songs are stupidly catchy and skull-deep in a soaring, dark, and anthemic quality that manages to become redemptive by their sheer awesomeness; the fact that they do it twice, and do it so effortlessly, and do it when their last record came out fifteen years ago, well, I’m impressed. You know those singing Christmas cards? You open em up and they play a little tune? I wish this issue of Razorcake was like that: “Little Bit of Hatred” would start playing whenever you opened up the pages. If you can’t guess, this one’s recommended. –keith (Kiss Of Death)


PLEASURE LEFTISTS:
Self-titled: 7”
Spot-on post-punk here, with a pitch-perfect mix of brooding bass lines, clean channel guitars, and howling vocals. I could probably gripe about the mono mix of the tracks—that bass is screamin’ out for stereo, dammit!—but, to be honest, I’m so busy playing this bad boy over and over that ultimately it really doesn’t matter either way. Here’s hoping a full-length is on the way. –jimmy (Katorga Works)


PITY PARTY:
Do a Little Dance: 7”
Yes, the old “ex-members of a great band that has previously graced the cover of Razorcake” tag could be used here, but let’s skip it—Pity Party, pleasantly, needs absolutely zero name-dropping to help ‘em out. This shit is fantastic on its own: Do a Little Dance contains a handful of compressed, spring-wound punk songs, all of them exploding right out of the gate ala Bitchin’ or This Is My Fist. Catchy and thoughtful and just fantastic, man. A great surprise, and more than worthy of repeated listens. –keith (Bloated Kat)


PITY PARTY / BAD MAMMALS:
Split: 7” EP
Pity Party: Paroxysmal punk delivered with much verve and no apparent fear of switching gears mid-song and sending the wagon careening down a different road. Bad Mammals: More standard indie-punk faire with some pretty bad vocals. –jimmy (No Breaks)


PERIKATO:
Kovat Ajat: 7” EP
Über-thrash freakout from a Finnish band with sloppy warp factor nine beats and ADD lengths. The Discharge influence isn’t quite so obvious, but they clearly can fuck shit up with the best of ‘em –jimmy (Ektro, ektrorecords.com)


PEACH KELLI POP:
Self-titled: LP
House and basement shows are a rarity in Birmingham, AL. Basement shows featuring bands I’m willing to leave my house for, even rarer still. So being provided a magic moment with Peach Kelli Pop (with Mean Jeans providing the rhythm section) via the gracious kids of God’s Butt basement was in incredible weekday night gift. A head-nodding, booty-twisting, beer-can-emptying good time was had by all thirty attendees that evening… and I’ll pick up any PKP release from then on. This LP definitely sticks to the thinner-sounding ‘60s pop formula championed by Burger, but its ability to conjure the good-time party vibes of their live show gives it heft. Highly caffeinated soda plus candy bars plus spinning this record and you may not have an unsmashed stick of furniture in your room. –Matt Seward (Burger)


PARASITIC TWINS:
Self-titled: 7”
Five angry punk songs that sound exactly the same. In fact, they sound so much the same that at first I thought there might have been a pressing plant error. But no, just a creativity error. –mp (Reality Is A Cult)


PAINT IT BLACK:
Invisible: 7”
Downtuned, hoarsely shouted youth crew hardcore with melodic touches. Nothing new, but played with the proper conviction. Six songs. Wear a hoodie in the pit. Get red in the face imitating the singer. Grow out of it, then work out to it fifteen years later. –CT Terry (No Idea)


PAA KII:
Self-titled: CD
It’s gotta be a drag sometimes to come from an area synonymous for a type of music. Pää Kii hails from Finland, an area long known for some world-class thrash bands, but that ain’t the kinda hash they’re dishin’ up here. Instead, you get a choice meal of catchy punk with a little bit o’ garage here and a dash o’ Spits-styled thud-punk there. I know the “if it ain’t loud, fast, and Discharge-derived, it ain’t shit” crowd are gonna howl with disapproval, but this is nonetheless some mighty fine ruckus makin’. –jimmy (Stupido)


OLD FLINGS:
Spite: LP
Depressing and uplifting at the same time, fans of Samiam won’t want to miss Old Flings. Already on its second pressing, there’s quite a buzz about Spite in some circles, and for good reason. The Samiam comparison would be a lazy one if it weren’t for the fact that this record is virtually interchangeable with Samiam at its best. Hailing from Ashville, NC and starting out as an experiment to electrify an already prominent acoustic musician’s songs, Old Flings is one of those bands that quickly gains legions of fans. I’m not sure that the brooding mindset is for everyone, but those into the more gloomy end of punk will dig it. –Art Ettinger (Self Aware, selfawarerecords.com)


OCCULT SS:
Teeth in the Dark: 7” EP
Crust punk that’s a little cleaner and less “black” in production and structure than others. The faster moments are often more Discharge than Amebix, but you can still almost hear the hair growing when they shift into lower gear. Not my genre of choice, but they ain’t bad at what they do. –jimmy (Rust And Machine)


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·HENRY FIAT’S OPEN SORE
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·Zine Reviews From Issue #40
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·SUBHUMANS LIVE IN A DIVE #5
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