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

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Record Reviews

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Silver Sprocket Bicycle Club Sampler 2: CD
I’ve only heard a smattering of Silver Sprocket bands in the past, but I’m completely sold on the label based on this sampler. This is the best comp record that I’ve heard in ages. Some straight-up punk, some pop punk, some ska, some stuff that sounds like underbelly wryly-humored singer-songwriter tuneage, and what may be some one-man band stuff or something close thereto. I hesitate to indicate who all is on the line-up because 1) there’s a shitload of different acts on this; 2) I don’t want to favor any one act—I liked the whole thing that much; and 3) I can’t really attest to which acts people will know or not. If you look at the Silver Sprocket website, you’ve got the lineup for this record. To that end, the comp has a diverse sound, but everything here works really, really well together. Yeah, it’s a sampler for a record label, but this stands up to any comp out there in my book. I’d pay good money for this, and like so many others these days I’ve become a cheap bastard who unfortunately thinks twice about buying records. And then there’s the glorious denouement: the back of the insert claims “this CD is awesome even though it is free”—truer words are rarely spoken. –The Lord Kveldulfr (Silver Sprocket, silversprocket.net)

Dead Broke Rekerds: Four-Way Split #2: 7”
Underground Railroad To Candyland: I wouldn’t say URTC is the Fugazi to Toys That Kill’s Minor Threat. (And that’d make FYP the Teen Idles. My analogy goes all to shit there.) But I will say that I like both TTK and URTC equally for essentially different reasons. (Perhaps it’s fist pumping vs. hip shaking.) And that’s a fuckin’ puzzle because with only one member difference at the time of this writing (lord knows when this was recorded), URTC sound like a band that could sell a lot of records if records were selling (like in that scene in High Fidelity when they put on a record and everyone in the store asks who it is… I mute the movie there and play URTC). Killer Dreamer: Zombie stoners. Brains. Buds. Bowls. Scorching riffs laid at the altars of Nick Blinko, Roky Erikson, and Dario Argento. Smelly bandage San Pedro punkrock that will silk-screen anything if it stays still long enough. Tulsa: It’s sometimes amazing how long songs can be on 7” records. Tulsa’s song’s (from 2004? Am I reading that right? It sure looks like a four) has got a lot of parts duct taped together like a massive quilt made out of dirty blankets. Tent city punk rock. The Reaction: Lean back really far and laid back, like the Hot New Mexicans do, and it’s easy to go along for the ride. Four-way split 7”s don’t get more solid. –Todd Taylor (Dead Broke, deadbrokerecords.com)

8^: Comp #1: Cassette
Serving as a mixtape, this solid punk compilation from this Missouri nonprofit showcases five bands with two songs a piece. Political watchdogs, The Dead Pawns, give us a peek at their punk‘n’roll schematics with heavy riffs, gang vocals, and smooth transitions. Part Time Crooks turns up the octane for a hardcore lean, finding their stride somewhere between Casualties and Adolescents. Next up, A Disco For Ferns plays a range of late ‘70s lo-fi punk to grungy humorcore with falsetto vocals. The Unpatriotics take it back to U.K.-influenced hardcore with rapid-fire lyrics and guitar solos the likes of Judas Priest. Stereo Atomico slows it down with their own brand of anthemic sing-alongs, and Snotlock brings up the rear with garage punk and earwormy hooks. The only downside to this sampler is the acoustics. At times it reminded me of how bands sound when I’m outside waiting to get into the venue. I’m hoping vinyl and CD have better sound quality. However, the talent of these bands shines through and so does the effort put out by this nonprofit record label. Definitely recommended. –Kristen K (8^, myspace.com/8records)

8^ Punk: CD-R
The first band literally had a chorus that goes, “I love you, you love me, that’s what we call a family! Oi, oi, family! Oi, oi, family, oi!” And then the other two bands sang about rape and dead white bitches and how you’re a cunt, etc. Idiotic and unfortunate. Fuck this scene, these intentionally unnamed bands, and this “label”. –Keith Rosson (8^)

1919 Hemphill: How Y’All Doin’ Tonight?: CD
A comp that’s a celebration of seven years of existence, making Fort Worth’s 1919 Hemphill the longest-running DIY venue in all of Texas. It’s also an eight dollar benefit CD. Anyone who’s tried to get a volunteer-run community punk space off the ground has to admit that that’s downright amazing (almost unheard of) and it’s a testament that you don’t have to be in a “punk mecca” or even a “punk-friendly” city or town to build a magnet that’ll not only showcase local talents, but draw in bands that are vanning across the country. This comp is a diverse and honest collection of bands (more-well knowns like Onion Flavored Rings, Lemuria, and Japanther) to local-ish asskickers (Teenage Cool Kids, Brickfight). If you’re genre-locked, its breadth may be a bit much for you—folk punk to metal sludge to pop punk to dancey stuff is all here—but I think it’s a great, Polaroid-style snapshot of a national scene in motion; a scene and locale that I hope will get the props they deserve retroactively. –Todd Taylor (1919 Hemphill)

Blonde Girls: LP
Lo-fi, psych/garage/folk rock from this band featuring members from Lover! and Bass Drum Of Death. Fans of the current offerings of Goner and HoZac records will find much to like here. There is a lot of the kinda stuff that Ty Segall, Dutchess & Duke, and Thee Oh Sees are up to, if that’s yer thing. –Mike Frame (Play Pinball!, playpinballrecords.bigcartel.com)

Catch 22: EP
The title track has nothing to do with Joseph Heller’s 1961 novel of the same name. Nor is the song “Kill for Christ” a FU’s cover. However, this is the second EP from these guys, and though it’s a little less blatantly urgent than the first EP, they’ve added more tension by slightly slowing some of the songs down and getting a little more musical. The title track is a burner with its fast attack and vocal delivery that’s convincingly desperate. “Kill for Peace” is pretty good, slightly longer, and reminds me of the Regulations and ETA. I like how they build up “No Salvation” with the vocals shouting, “Do what they say, Obey your god, Do what they say...” over and over with the drums underneath before they bring in the rest of instruments in one quick wave. “Down Again” ends sort of like the record began: a mix of fast and slow with urgency throughout. Yes, this is hardcore, and everything is laid out without pretension, but if you listen a little closer than usual, there’s more power here than just a burst of “1-2-3-Go!” Tempos change and guitars go quiet while the drums momentarily take over. A tried and true formula, but played with conviction, for sure. –Matt Average (Sorry State, sorrystaterecords.com)

Self-titled: CD
Parts of this are pretty listenable in a Sabbathy/fake-ass psychedelic way; parts of it are just stupid “we invited our friend with a saxophone to jam in the studio” type shit. They toured with Big Business. I get the feeling that they were the kind of opening band you don’t especially hate but forget completely by the time the headliners are done, only to see the CD in a bargain bin years later. You reminisce for a second about that show, then pass it over to buy something better. –Ryan Horky (Volcom, volcoment.com)

Skin: EP
Noisy hardcore that sounds like art school kids staying up all night and hitting each other with their instruments. I don’t know how they did it, but this screechy CD has a palpable air of danger. It sounds more like a storm than a song. I like this a lot. This music is so wild that it took a minute for me to realize that the second track was skipping. Dear Criminal I.Q.: Next time you send out goofy lil’ promo CDRs of your releases, make sure that they play all the way through. You’re doing everyone involved a disservice when your review copies don’t play. –CT Terry (Criminal I.Q., criminaliq.com)

Two Headed Demon: CD
There’s no real info on who’s responsible for this, but it sounds like the work of one man with access to a synth and/or a guitar. The music is a weird mix of minimalist synth-wave stuff and vaguely ‘60s-influenced rock. Can’t say it works all the time, but it is definitely off the beaten path. –Jimmy Alvarado (voodoorhythm.com)

“Someone Send Me a Life Boat” b/w “Where Have You Been?” , “Peanuts” b/w “Little: 7"
Turkish Techno aren’t solved easily. They’re neither Turkish, nor are they techno. Why is this two 45 RPM 7”s instead of a one-sided, four-song 12” with an etching on the B-side? Is that really Indian elephant god, Ganesha, in a Shriner’s cap, eating a burrito, swilling a Pabst, sporting a necklace of beheaded band members on the covers? I believe so. Andy, one of the songwriters, disclosed to me that he often writes songs when pooping. And I’m sure I couldn’t write a review without one member getting bent out of shape about something. Anything, actually. I think they sound like the Jack Palance Band or the Horrible Odds mixed with folks who listened to a lot of ‘90s Epitaph punk growing up: blistering and breathless-throaty vocals over a full-force, polished drive. They’ve got the anxiety of a band at odds with itself—on the verge of a breakdown—really going for them. My two cents is they should go on tour with Off With Their Heads and in between sets, they could dim the lights and have a nightly “complain-off.” Top drawer stuff from a Riverside band that’s perpetually threatening to break up. May they never be satisfied. –Todd Taylor (Wolf Dog / Muy Autentico)

Split: 7" EP
When I think of Puerto Rico, I think of sunshine, bikinis, Ricky Martin, and that shitty ‘90s rap-metal band Puya. But not anymore. Two of the island country’s finest come together for a split of what will from now on, in my mind, disassociate any connotations of Puerto Rico and shitty music. Tropiezo has quite a few CD-R releases under their belt and, if anything, I’m pleased to finally see them being pressed onto wax. You like it fast? I like it fast. Tropiezo sure as hell like it fast. Taking Life’s Halt and RKL’s intensity up a few notches is not a bad way to make friends. Not to mention some of the best lyrics I’ve read in quite some time. La Virgen Del Pozo scare me. I’m fucking serious! There’s something about naming your band after a religious miracle and then sounding like Possessed playing grindcore that just spells out E.V.I.L. The lyrics are further proof. Topics include the daily tortures of life, disguising yourself as death to reap souls (for fun, I guess), and drawing your own blood (also for fun?). They even acknowledge that they do believe in extraterrestrials and not in God, but are also quick to warn any alien visitors against the thought of enslaving humanity: “Preparanse para la muerte” translates to “prepare yourselves to die.” Seriously fierce and deranged stuff that must be heard to be believed. The cover of this split depicts two monsters battling it out on public streets and destroying everything in their paths. It couldn’t be more suitable of an image to accompany the musical devastation contained herein. Crucial. –Juan Espinosa (Discos De Hoy, discosdehoy@yahoo.com)

Split: 7" EP
Tropiezo: I think I’ve prattled on enough in past issues about how fuggin’ awesome I think these guys are, and nothing here changes those previous assessments, so I’ll spare you all the fan-boy drooling. Suffice to say, you get six doses of spastic hardcore with wild tempo changes up the wazoo. La Virgen De Pozo: Thrashy, grindy stuff that, like Tropiezo, is up to its eyeballs in tempo changes. –Jimmy Alvarado (discosdehoy@yahoo.com)

Amusement Park: CD
Poppy indie rock. Sound’s clean, slick, and catchy, so I wouldn’t be surprised in the least if they were scooped up by a major in short order. –Jimmy Alvarado (Odessa)

…to the Beat of a Dead Horse: CD
I’d heard this band name thrown around a lot in the past couple of years, but never heard them until this reissue. They play really pretty sounding screamo that comes across as pretty conservative. The guitar work consists of the typical chord phrasings and is catchy is its own way, but doesn’t offer up anything new. I guess I can understand why people like this, but the thin production and lack of any real emotion in the vocals just makes it hard for me to stay interested. –Ian Wise (6131)

…to the Beat of a Dead Horse: CD
Hardcore with an emo undertow. Not my cup o’ poison at all. –Jimmy Alvarado (6131)

“Paranoid Video” b/w “Real Estate”: 7"
This is some top notch fascist new wave. Not Benito, “let’s bomb Crete and kill all the communists” fascist. Mind-controlling Devo fascist. Joy Division’s bleak wasteland, gripping a rusty wire tethered to a black dawn fascist. The band could easily be named after any number of concentration camp or SS death head brigade and be right in perfectly-ordered line. Nervous Gender-type “is this even music?” fascist. George Orwell predicted this shit down to the roboto-voice, you-will-obey fascist (with a bit of Tuxedomoon). It sounds bloodless, scary, and forceful in all the right ways. If more music was like this, I’d be more inclined to learn how to take over a country by coercion and force. –Todd Taylor (SmartGuy, smartguyrecords.com)

Treasures and Prizes: CD
Short and sweet punk by way of rock from these OrangeCounty dudes. Sonically, it’s similar to Danzig or the Damned, just without the doom and gloom (the best part). –Jeff Proctor (toratoratoraband.com)

Better Places: CD
This is earnest acoustic punk in the same vein as all the bands you’re thinking of when you read the words “acoustic punk.” This dude is from Ontario, like me, so I immediately have a soft spot for him and his sweet, yelly pop songs. I like the sing-along choruses a lot and I think this is cool because it keeps it simple. No random weird instruments or crazy production techniques. Just cool songs and a good voice to sing them. That said, I think it would be awesome if he found himself a drummer to fill out the sound now and again. I think this kid would make a really great lead singer and I’d like to see what he could do with a bit more back up. –Jennifer Whiteford (Self-released)

Naked: LP
This appears to be a collection of acoustic versions of previously recorded songs. I know nothing of the band or the original versions, but the songs as they are here are mostly inoffensive and seem to work well enough as acoustic numbers. The songs are fleshed out with organ, harmonica, and percussion. The vocals are a little weak and sometimes sounds a little too much like the slurring, tropical affectations of Tim Armstrong. I can’t really imagine myself listening to this again after this, but this is otherwise fine for what it is. –Jeff Proctor (May Cause Dizziness, mcdrecords.bigcartel.com)

Clown Sounds: LP
Call me funny, but I have little desire to see most of humanity naked. I also have no desire to hear most bands stripped down to one band member. Because when there’s no loud volume to be camouflaged by, no other band members to hide in plain sight with, no pushing electricity to crackle and deafen, most punk songwriters aren’t that good by themselves. Just sayin’. It’s like putting a spotlight to a zit and the record’s a half hour of squeezing that zit. But in that kitty cat farm that is Todd Congelliere’s creative brain, those furry motherfuckers are playful, busy, complicated, adventurous, fearless, and will always let you know when they’re hungry. So, I’m not going to say genius—because what’s a genius but someone to crucify, vilify, or ignore in the future—but one of the main creative forces in FYP, Toys That Kill, Underground Railroad To Candyland, and Stoned At Heart has a unique musical vision, one that I abide by. When it’s mostly him, a guitar, and a cast of rotating friends, the result is yearning and often sad, but always worth listening to. And it sounds fully clothed, so it doesn’t feel like you’re staring at his wiggling wang the whole length of the whole record. Because that’d make most of us uncomfortable. –Todd Taylor (Burger / Small Pool)

Demo 2010: CD-R
There’s definitely potential here. The songs seem a little rough, but it’s a demo. They’re certainly played with conviction and they use surfy guitar parts as texture and not just as a crappy Agent Orange or Ventures homage. I could see good things happening with these guys in the future. –Ryan Horky (Self-released, myspace.com/terriblefeelings)

Man inside My Brain/Schizophrenic Ghost: CDEP-R
“But, Bryan, you listen to punk rock! It doesn’t have to be recorded great!” You’re right, it doesn’t, but there is a certain level of lo-fi that is just annoying. Traits include when the reverb rings out longer than the notes actually existed for, and playing it anywhere above the halfway volume mark on my computer gives me a headache. The songs aren’t bad though. Two songs each: one original and a cover of the original the other band had. Essentially, yes, you are listening to two songs. Both bands employ a variety of strange effects on their vocals, which could be considered innovative or wacky for the sake of wacky. Take your pick. –Bryan Static (Fleshwave)

Jesse and Jack: EP
Jesse and Jack is an absolute burner. You can buy this EP for $4.99 from Douchemaster Records. And while I seldom encourage people to straight-up buy records I get for review (we’re all just scum bags—no hierarchy here), this is one of those times where you need to just trust me and pick this gem up. These four tunes are pure gold. “Away” is a beautiful song—a street-level folk-rock number in the vein of “It’s All Over Now, Baby Blue” (the Chocolate Watchband version). “Life Is Good When Cinematic” has great girl-group harmonies and a driving, Tommy James and the Shondells-like bass line. All of these tunes are so simple—they share a lot in common with The Seeds and early Love in their teenage lyrical subject matter and musical accessibility. But there’s real brilliance to them. “To Jack and Jesse or Jesse and Jack” has an ace Merseybeat root-fifth bass line that makes the song, not to mention a great, reserved little guitar lead. You have to have a vast knowledge of music and lyrical prowess to come up with a 45 of this caliber. Although the music is so simple to perform, to replicate it is really difficult. This is the hallmark of all great music. I mean, even down to Adams’ lyrical phrasing on “Summer Days” and its nursery-rhyme feel. He’s truly entering Syd Barrett, Ray Davies, and Dan Treacy territory with the tune. What do you say when someone drops a 45 of this caliber on your lap? I can easily write a sprawling, thousand-word article on how good this EP is. I’m not fucking around, either. Pound for pound, this is the greatest 45 I’ve ever received for review. Right up there with Greg Cartwright at his best. Absolutely stunning. If you don’t like this 45, write the magazine and they’ll get you in contact with me. I’ll purchase it from you, collect a few, and sell them back to people who get it. I can lay this offer out because I know no one will take me up on it. I haven’t lost hope for humanity. –Ryan Leach (Douchemaster, douchemasterrecords.blogspot.com)

A Series of Screws: CD
What a pleasant surprise this was. I had heard of this band ages ago when I picked up a Copper Press sampler CD. We’re talking two or three computers ago. I’d only ever heard the one song from them. When I got this I was happy to see they were still around and curious to hear more since I had enjoyed the one song I knew of theirs. Listening to A Series of Screws, I didn’t discover the world’s best kept secret but I did discover a pretty good one. Coming out of the Pacific Northwest, System and Station (S&S) has been around for over a decade and play indie rock but with good angular moments influenced by some post-punk sound. I was at various times reminded of Shiner and Cursive. Frontman Ryan Heise has the ability to create some catchy tunes while maintaining some integrity in the music. And his vocals reminded me of Cris Cordero’s (whose album was one of my favorite rock albums I’ve reviewed here at Razorcake) with the ability to sing clean if needed but retaining gruff edges when called upon. Some of the songs have great grooves but keep their strength. S&S is noisy without being obnoxious and tight without being pretentious. It’s a solid album that I hope gets them some of the attention they deserve after certainly having put in their time. –Kurt Morris (Latest Flame)

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