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· 1:Off With Their Heads Top Shelf Interview Podcast
· 2:D4th of July, 2014
· 3:Trials and Tribulations of a Misguided Adult
· 4:Radon Interview
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Record Reviews

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Below are some recently posted reviews.

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RAWHIDE:
Branded for Life: 7”
It’s a bit of a copout to immediately compare this garage-y four-song Swedish record to The Hellacopters or Turbonegro, but those really do seem to be the main influences here. Tending towards the rougher, cock rockier sides of both of the aforementioned bands, these tracks are solid blasts of grimy, seedy Scandinavian punk. I’d say it’s nothing special, but these nuts might hop a plane and kill me for saying so. –Art Ettinger (Patac, patacrecords.com)


RANCID HELL SPAWN:
Abolition of the Organism: 7”
Rancid Hell Spawn is back! This is the first single from the newly reformed U.K. band. The older punk crowd who were around in the early ‘90s will certainly be familiar with their noisy and distorted blasts of weirdo punk noise, and this new four-song EP pretty much picks up right where they left off. Back in the ‘90s, they were a really prolific band that didn’t really fit in with any specific scene, in my opinion. In 2012, I could see them fitting in perfectly alongside some of the oddball noise rockers on the Load Records label, or maybe even wouldn’t find them so removed from the A Frames or the other bands with ties to SS Records. Recommended. –Mark Twistworthy (Wrench, wrench.org)


RADAR EYES:
Self-titled: CD
About as fine an example why I faithfully scrounge through the Razorcake review bins with any regularity as one is gonna get. Just plain glorious, this is. So many different styles tossed in—’60s Byrds jangle, My Bloody Valentine woozy noise pop, Suicide synthy drone, Velvet Underground thump, surf, punk, garage rock, Jesus And Mary Chain, The Verve’s appropriation of a Stones standard, the fuggin’ list goes on and on—and blended into a frothy mix that is reminiscent of all them influences but retains a flavor all its own (yeah, as a matter of fact, it is snack time). Before I know it, it’s been in constant rotation for a week straight and I still haven’t tired of it. Play often, play loud. –Jimmy Alvarado (Hozac hozacrecords.com)


PYGMIES:
Self-titled: CD
Ten tunes of rocking, slightly snotty garagey pop punk from this fantastic Calgary, Alberta band. Featuring members of the vastly underrated Neckers from that same city, the Pygmies have done a fabulous job with their debut release. Slightly less power pop-sounding than the Neckers, but leaning heavily into good pop punk with a garage feel, one of my favorite sounds to be sure. Some may want to note that Brendan from the Pygmies was a member of Chixdiggit! and played on their most recent EP on Fat. This could not come any more recommended for fans of everything from Real Kids to Groovie Ghoulies. Cannot wait to hear more from this phenomenal Canadian band! –Mike Frame (Sloth)


PRICEDUIFKES, THE:
Can’t Lose: CD
More of the loud, grittier pop punk that’s become quite popular here, as well as in Europe (where this band is from). It’s like if Dear Landlord stayed closer to a mid-’90s Lookout/ early Queers lyrical content instead of hopping trains and living in trailer parks. –Joe Evans III (Monster Zero)


PORN STARS OF HORROR , THE/ POTBELLY / SKEXIES, THE:
This That and Some Other Shit: 3-way split: CD
The cover of this CD’s glossy one-panel digipack looks like art that was lifted from some Teenage Mutant Ninja Turtles fan fiction that my roommate would blog about. It’s some Quincy punk male vulture and male warthog with female werewolf and female fish creature hanging on them. This looked like complete shit. In conjunction with the bands’ names, I was expecting complete shit. I don’t give a fuck if I come off like the PC Police on this, but the artwork, some of the song titles, and the band names, to a certain extent, reeked of reinforcing gender roles and stereotypes—and the lyrics on some songs reinforced this: these three bands that seem to revel in being shit, with a desire to be offensive. All three sections of the disc begin with malicious statements about the proceeding band, with a declaration about the whole disc being shitty at the outset. PSOH: Horror punk with hardcore punk songs, both male and female vocals. One of the male vocalists has a hankering to sound like Glenn Danzig. I hafta admit that their sexual juvenilia in the song “Touch” made me laugh, with its words of butthole touching in something of a romantic context. Perhaps the worst “love” song ever. Skexies: Male- and female-fronted Violent Society type ‘90s crap of a lower tier with metal bits. I thought it was harmless until the song “Sweet Tits.” The song’s chorus has the remarkable refrain of, “Slut, Slut, Dirty Slut, Dirty Whore Go Fuck Yourself,” sung by both vocalists. The song also has a line about shoving “black cocks” in one’s ass being a “blast.” Maybe I’m being sensitive here, but I’m calling racism based on the fact that the line is meant to offend whomever the song is about. They could just be the thoughtless words of a jilted meathead, but that shit is fucking too much for me. Potbelly: Pretty sure this is a live set. All male band. Shitty, unmemorable drunk punk hardcore bullshit. “Jaimee the Cock-Blocking Lesbian” is one of their songs. “Monkey-Fuckers from Mars” is another one. Don’t forget “Alcoholicide.” Come to your own conclusions on that one. –Vincent Battilana (PB / P.I.G.)


POOR CHOICES:
Girl Crimes: CD
Minimalist punk/trash fodder with a rudimentary delivery and what sound like lyrics striving to be obnoxious and/or funny, none of which should be construed as a bad thing. They are quite adept at doing what they do, and they definitely sound like they’re having fun doing it. –Jimmy Alvarado (Shake!)


PLIMSOULS, THE:
Beach Town Confidential: CD
Rescued from the vaults, another sick-sounding live show from this awesome band. Recorded live at The Golden Bear, Huntington Beach, CA on August 13th, 1983. The band rages through seventeen songs: mostly originals with a couple choice cover nuggets tossed in to keep it fresh. This was a band firing on all cylinders and the results kick ass. Thank you Peter Case for getting this out to the masses. Keep them coming! –Sean Koepenick (Alive)


PLIMPTONS, THE:
Are Cynical and Bloated: CD
I rather enjoy these good-natured Scot-poppers; they sound like a cross between the early Buzzcocky work of their countrymen the Soup Dragons ((a band who actually did not suck at one point in time)), and other tolerable U.K. 120 Minutes fodder enemies like the Wonder Stuff or what-have-you. Of course, their broad Scots accents can’t help but invoke the dread spectre of the Proclaimers, and their college-drop-out eclecticism smacks of Jazz Butchery, but there’s enough of a DIY/regular joe vibe at work here to confirm the band’s fitness as something appropriate to review in a punk mag, even though the only bands to which i have compared them thus far have been questionable ‘80s college radio favorites ((although, for the record, I consider the Jazz Butcher to be largely beyond reproach)). Pretty hard to knock a band who’d sing a song like “Never Going Back To Work,” so venerate accordingly. BEST SONG: “Never Going Back To Work” BEST SONG TITLE: “A Call Centre Job Over The Summer” FANTASTIC AMAZING TRIVIA FACT: “Recommended Track for Radio – 7 – Be Expected.” –Rev. Norb (16 Ohm)


PIÑATA PROTEST:
Plethora: CD
What Polkacide did for polka and the Hickoids did for country music in the ‘80s, San Anto’s Piñata Protest seeks to do for norteño, namely take what is often considered a markedly “uncool” style of music and infuse it with copious amounts of punk energy and attitude. They handily succeed, due in no small part to the fact that keep things eclectic, and they approach what they’re doing with a seriousness in execution without taking themselves too seriously, if that makes any sense—despite polka and cumbia-derived rhythms and accordion solos aplenty, they are at heart a punk band that tempers their social frustrations with lots of humor, and vice versa. What you end up with is a band that ain’t afraid to get a crowd on their feet and dancing while singin’ songs in Spanglish about just how fucked up things in the world often are. Fine work here from a band worthy of much attention. –Jimmy Alvarado (Saustex, saustexmedia.com)


PIG HEART TRANSPLANT:
“Weapon” b/w “Gut Pleasures”: 7”
As you’ve probably read elsewhere (or heard by now, as this has been out long enough to be sold out at the source), noise project Pig Heart Transplant toys around with something like song structure on this one. The last thing that I had heard from PHT was the devastating Hope You Enjoy Heaven LP+7”, which was rather menacing. This is a bit of a departure from previous output, to be sure, though not in a manner that makes it seem to be anything but begotten from the same maniacal vision. Both songs are slow, heavy, and center around repetitive drum-pummeling: the sound of torment carefully making its way down a hall to corner you in terror. The main accompaniments on “Weapon” are the repetition of a discomforting guitar riff and quiet, raspy vocals, though pieces of noise are still present. “Gut Pleasures” gets much noisier and has ominous bellowing throughout. Both tracks convey a feeling of being tracked by an opportunistic, malicious predator and nightmarish paranoia. Inhuman and brilliant. –Vincent Battilana (Iron Lung)


PHANTOM MAXIMUS:
S.P.E.C.T.R.E. + Destroy All Chords: CD + 7"
More music from Thee Wild Wraith, AKA Jim Vance, the most prolific and talented producer of home-recorded horror punk in Colonial Heights, Virginia. This group of songs sticks to a Dwarves-y short/fast formula: drum machine, buzzsaw guitar, snarled sing-song vocals, snarled hook which is usually the song title (“To Live As a Ghost, You Must Die As a Man” and “A Beautiful Bride for a Horrible Groom” being two favorites), done. The CD offers sixteen songs in fourteen minutes, including a few songs from the 7”. Meanwhile, the 7” economizes the evil with fifteen songs. Creepy, cartoonish fun. Makes me want to drive around at night, glowering. –CT Terry (Grim Ghost/OneC.tv)


PANZER BASTARD:
Gods, Thugs & Madman: 10”
Boston’s Panzer Bastard mix 1980s thrash metal with crust punk for a sound that both punks and metal folk can get behind. While strictly apolitical and non-P.C., they’re clearly not a racist band, despite persistent internet rumors stating otherwise. This collectable record on neat swirled vinyl is strictly limited to 500 copies. If your tolerance for metal stops at punk-ish metal, it won’t be too metal for you. It’s definitely more metal than punk, as opposed to the resurgence of metal-influenced hardcore, but it’s firmly planted in crossover tradition. Incidentally, isn’t “Crossover Tradition” a song in Fiddler on the Roof? –Art Ettinger (Patac, patacrecords.com)


OUTDOORSMEN:
Violent Hands: 7”
Rudimentary, fuzzless punk recalling some long-lost 1970s backwater masterpiece, unearthed and unleashed to offend a whole new population with songs about pornographic stockpiles and lyrics like, “Broke a ketchup bottle/and drag it across your neck, with violent hands I’ll get some respect.” Seriously, dub it onto some shitty cassette and tell your punk snob buddies it’s an old demo yer crazy uncle gave and they won’t know the diff. –Jimmy Alvarado (Florida’s Dying)


OUT OF TUNE / SCHWERBELASTUNGSKÖRPER:
Split: 7” EP
Both bands dole out short blasts of spazzed-out hardcore with an oddly poppy undertow, with the latter doing so in Finnish, and the former in English. Very nice cover art featuring Cthulu brushing his teeth. –Jimmy Alvarado (Creative Class War, creativeclasswar@gmail.com)


NUCLEAR CULT:
Better Nightmares: 7” EP
Fuggin’ flat-out crazed¸ “blink and you’ll end up with a headache but not know why” ADD-length German thrash that manages to do justice to both the Siege and Negative Approach camps. Given the number of tracks listed on the back—fourteen—I was expecting some sorta powerviolence blurfest, but this packs a vicious wallop too many of those types of bands lack. –Jimmy Alvarado (Warm Bath)


MISERY:
From Where the Sun Never Shines: 2 x LP
I have read that there’s been a seventeen year gap since this band has released any new material. Still based in Minneapolis, the band stayed below the radar and spent five years recording a record that can be put up on a pedestal. Continuing on with their DIY ethics, this release was home recorded in their basement. A thought in my mind would say that this would be muddy or thin, but the production values can be matched with any big budget recording out there. Every instrument can be heard clearly and precisely with sonic power. I love the dirtiness of the bass licks mixed into the sharp attack of the guitars. The drums hammer out the beats with impact, complementing the power of the songs. Gruff vocals drive the songs with aggression and fury. Equal bits of crust, metal, and punk are infused to great success, making the songs non-generic and interesting from first listen. I felt engaged on the first listen and am feeling familiarity and comfort on continued listens. Misery takes some of the complexity of Tragedy’s music and mixes it with Amebix’s power. Originally intended as a download only release, I’m glad Inimical picked up the release and put it out on a proper format. In record nerd territory, the packaging is top notch. It’s a double LP in a beautiful gatefold cover and my copy is on grey vinyl. For me, this is a record that will stay on top of its genre. Other bands following this release will have the burden of having to be compared to it. –Donofthedead (Inimical, mike@inimical.com)


MINISKIRTS, THE / THE ITCHIES:
Split: 7”
Miniskirts: ‘60s girl group la-la-la-in’ along the lines of predecessors like Thee Delmonas ‘n’ such. The Itchies: More ‘60s worship, with less focus on singalongs and a bit more organ to keep the party groovy. –Jimmy Alvarado (Teen-Age Riot)


MIND SPIDERS:
Meltdown: LP
I know I’ve got down this road before in these very pages, but it must be stated again that I love me some music from Texas. I’m not sure how the geography plays into it, but there is a disproportionate amount of Lone Star State bands in my list of favorites across many genres. Why am I dragging out this old chestnut of information? It’s the friggin’ Mind Spiders, man! Mark Ryan is a mad scientist who is mixing some of my favorite Texan things to make sweet armadillo love to my earholes... First off, there is the disjointed pop aggression that Ryan is well known for in bands like Marked Men and High Tension Wires. It’s here in fine form, creating the base of this sculpture. From there, these Mind Spiders begin to add layers of sonic vandalism to the mix, invoking more shimmering, hallucinogenic imagery in the vein of Butthole Surfers and Roky Erickson. It is a sweet and addictive blend. I went from liking their debut 7”, to loving their first LP and now to having to pick my jaw up off the floor, still in shock from what I just experienced. I can’t imagine what the next one will be like. –Ty Stranglehold (Dirtnap)


MIKEY ERG:
Fucifier: 7” Flexi EP
Five songs in five minutes ensures there are no prog-like jams or unnecessary drums solos contained within. It’s strictly thrashy hardcore here. With song titles like “Chicago Pussy,” I think you get the point. Loud and loose, I would suggest picking up the T-shirt and wearing it around your neighborhood. Guaranteed to ensure that your neighbors think you are insane. Fun! –Sean Koepenick (Bloated Cat)


MENZINGERS, THE:
”The Obituaries” b/w “Burn after Writing”: 7”
The two songs on this 7” are both on the band’s Epitaph debut, On the Impossible Past. So if you already have that record, you might pass on this one. But if you are a record collector, it’s cool to have these two tracks on 7” format. “The Obituaries” contains powerful drums and melodic guitar leads, along with strong vocals singing about despair. “Burn after Writing” is a catchier tune, with dual vocals throughout the track. This is definitely a nice little piece of vinyl to add to your collection. –Nighthawk (Red Scare)


MENTALLY ILL, THE:
Gacy’s Place: 7” EP
I’ve waxed poetic about this band before, when Alternative Tentacles released its anthology, of sorts, which also featured the tracks contained herein, but enough praise cannot be heaped on this band’s magnum opus. The lyrics are simple, the playing even simpler, and the guitar sounds like a live wire being zapped through a barely functioning transistor radio speaker, but the delivery is what makes this a classic slab of psychosis-drenched punk from a group that sounds like they’re just this side of fucking losing it altogether and stabbing a few people for shits ‘n’ giggles. The packaging of this repress aims to recreate the original packaging, so you get a nice pic of the titular serial killer posing with former first lady Rosalynn Carter (one that is real, not diced together in some pre-Photoshop attempt at partisan character assassination) on one side of the cover and (most of) the lyrics on the other. If yer some kinda CD snob but can’t afford the silly sums an original copy fetches these days, vital doesn’t come close to describing this. –Jimmy Alvarado (Last Laugh)


MEASURE [SA], THE:
My Heart and the Real World: Another Collection of Standards Waits and Measureme: LP
The Measure [SA] (RIP) were not a perfect band—they were an honest band that learned by trying and doing. That’s why I put some longtime trust in them. It wasn’t just the obvious strength and vulnerability in Lauren’s voice. It wasn’t only Fid’s hardcore strengths and sensibilities but his less obvious off-stage tenderness (and that he readily admits they became a much better band when he stopped drumming). The Measure were like a band that became a friend who was unafraid of reminding folks about political consciousness and how it’s tied into very real bodies, minds, actions. It wasn’t done through pedantics. It was done through example and a nice seven-year (?) run as a band. They were pop-infused punk, but that’s just the easy skin and we all know how too much attention to mere skin can be deceptive, can be manipulated. This is the second and final collection of Measure 7”s and comp tracks (Measurements 9-16). Well worth your time. –Todd Taylor (No Idea)


MANXX, THE:
“Messin’ Around” b/w “Hard Lessons”: 7”
Be grateful for the day when slop became an art form. After years of technical perfection, imperfection seems so real. Equally parts sloppy pop punk and dirty garage rock, The Manxx win this month’s “Best thing in the review box” award. The vocalist has the charm and delivery of a singer in the better half of the Plan-It X catalog. Highly recommended. –Bryan Static (Snappy Little Numbers)


MANIX, THE:
Neighborhood Wildlife: LP
Gruff pop punk sung by the guy who does back ups in Banner Pilot. If you like Banner Pilot, listen to this. There is no barrier to entry! None! Literally, the Venn Diagram is just one circle. That’s not to say this sounds exactly like Banner Pilot, but the similarities are there enough. There’s a little less screaming, a little more melody, and a whole lot of love. It’s the same kind of thing that makes Dead Mechanical or The Credentials fun. I could compare them to Screeching Weasel, but does that really say anything anymore? Highly recommended. –Bryan Static (It’s Alive, itsaliverecords.com /All For Hope)


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