Welcome to Razorcake | DIY Punk Music | Punk Bands | Punk Rock Bands | Punk Magazine Welcome to Razorcake | DIY Punk Music | Punk Bands | Punk Rock Bands | Punk Magazine

· 1:Razorcake #79 Now Available
· 2:#307 with Mitch Clem
· 3:L.A. Zine Fest 2014 by Andy Garcia
· 4:#308 with Kurt Morris
· 5:Record Reviews in Razorcake #79

New Subscriptions
Stickers and Buttons
The NEW "Because We're Fuckin' Classy" Koozie

Razorcake #79
7 Random Back Issues for $25 | For Intl Customers
Zisk #24
Grabass Charlestons, Ask Mark Twain LP
Grabass Charlestons, The Greatest Story Ever Hula'd LP

Can't find Razorcake at your favorite store? Lend us a hand and we'll send you a free issue.

Razorcake will send you one free issue if you ask your librarian if they would carry Razorcake in their stacks. (This offer is good for both traditional libraries and independent libraries.) To get the free issue, you must send us the librarian's name and email and the library's postal address. We will then contact them directly and donate a subscription to them. U.S. libraries only, due to postage.

No Idea Records

Record Reviews

1 2 3 4 5 6 7 8 9 10 11 12

| 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M |

| N| O| P| Q| R| S| T| U| V| W| X| Y| Z|

Below are some recently posted reviews.

RSS Feed

Self-titled: LP
The first thing that I heard from Cat Party was their “Jigsaw Thoughts” single, which is backed with “Entitled.” The tunes on there were both pretty damn good post-punk, leaning more towards the minimalistic, goth side of post-punk (Joy Division/early Bauhaus) as opposed to the noisy, chaotic side (Fall/DNA). Both of those songs made it on to this LP, which sees Cat Party fine tuning just a bit. I find it amazing how this three-piece is able to put together an LP of bleak yet rather hypnotic and atmospheric songs. Listening to this is, at times, like going into a commuter coma on a scenic drive: I plan on going out to take in the beauty, but it seems so obvious that I sink into it and just forget what I am doing; then I look up and notice that my surroundings are truly superlative. If you’re going to brood, brood to this. –Vincent Battilana (Flat Black)

Self-titled: 7” EP
My memory’s shit. I just got my eighth concussion, followed two months later by a direct punch in the face that loosened some luggage upstairs. The upside to all this is that I’m virtually incapable of nostalgia because I have a hard time remembering in much of a linear fashion. I gotta really concentrate to separate what happened in 1998 from 2008. But, I did see Athens, Georgia’s Carrie Nations at a house show in Anaheim (the cops came that day) years ago, and I was blown away. They’ve got a sorta indie rock approach to songwriting, meaning there’s more attention to texture and dynamics, but it’s played in such a manner that the drummer’s glasses flew off his face from the combination of sweat and totally punishing the buckets. Be Still, their full length which I bought right after their set along with their split with This Bike Is A Pipe Bomb, is a flawless record. Like roses cropping up from blood spilt in the cracks of a sidewalk, the a-side of this 7” are songs recorded in 2003 that had never before been released. That’s the time capsule magic. The b-side is the remastered songs off the TBIAPB split that’s long out of print. Love me some Carrie Nations. Relevant? More than ever. –Todd Taylor (Stankhouse)

Self-titled: 7"
Judging from the band name and the cover of two stoner-looking rockers with guitars and rifles against a white wall, I thought I was in for some craaaaaappy bar rock. Shit no, it’s actually pretty rad, weird rock. Angular guitars stabbing out some catchy music, real driving, basically pop punk, but with a more gravelly singer than a smooth snot punk. Think a poppier Mistreaters. And I know we can all get on that train. Maybe they just sell pot, not smoke it. Three solid songs, tight as shit. They would be too energetic for a biker bar. Don’t know how you can get this 7”. No label listed, no address on the back cover, just “mono.” The vinyl has no label either, just the inscriptions “Don’t touch my moustache” and “Continued use may cause birth defects.” Maybe you can find them on the MySpace. –Speedway Randy (Self-released)

Self-titled: 7"
After a few delays, this finally sees the light of day. It’s a great follow-up to their debut LP on Lengua Armada. Heard they remixed and remastered those tracks for their discography CD, which I heard has these tracks also. I actually like the original mix of the LP. Oh well, have to see if I like the new mix too. This 7” is five songs of intense hardcore in the mid to late ‘80s vein that surely can peak the attention of the most jaded. A dual guitar attack punches though the mix to give it the power. Drums are banged with controlled madness and the bass gives it the punch needed to feel it in the ribs. Just the right backdrop for singer, Todd, to do his thing. Broken Needle on record is great, but seeing them live takes it up a few notches; at least what I have witnessed since they are a local band. “Energetic set” barely covers it. I usually get banged around good trying to take pictures either by the crowd or the band, but I know for sure that I’m going to enjoy every minute of it. –Donofthedead (Schizophrenic)

Death Walks the Streets: EP
The dangerous thing about old bands who put out some classic records recording new records today is, all too often, the results are less than stellar. The classic line up is long gone, inspiration isn’t what it was, and on and on. Broken Bones, sadly, are one of those bands who should have stayed in the past. On these three songs they sound like some local opening band wishing they were Broken Bones. Today’s imitators have more power and are more relevant, oddly enough. Another once great band with a tarnished record. –Matt Average (Dr. Strange)

Big Deal. What’s He Done Lately?: CD
Excellent third album from these wunderkind fuzz monsters. They give the blown-out, fuzz box treatment to a few different musical styles, including country and western on “Easter at the Lewises’” and ‘60s British Invasion on “Suicide Blues” and “Elation,” all to fine effect. There’s a longing that echoes in the singer’s cracking voice on “Final Dispatch” that lends the song emotional depth. The guitar interplay with the lead vocals works especially well throughout the record. The album is so good I can even forgive them for rhyming “cool shit” with “atavistic” on “End of the Summer.” –Josh Benke (Alive)

Walking Out on Love (The Lost Sessions): CD
Between the breakup of L.A. power pop legends The Nerves and the formation of their equally legendary bands The Beat (not to be confused with the English Beat) and the Plimsouls, Paul Collins and Peter Case had a band called the Breakaways. Although the group never really quite got off the ground, they did manage to record a few demos of some tunes from the Nerves’ set list and, in the case of the title track, some that would also feature in the Beat’s future set list. These tapes were apparently mislaid for many a moon, but have been rediscovered and released. The sound quality is great considering these are demos and they’re some thirty-odd years old, and the songs, well, we are talking about the dudes responsible for “Rock ’n’ Roll Girl” and “A Million Miles Away,” so of course the tunes are top notch. –Jimmy Alvarado (Alive)

Walking Out on Love (The Lost Sessions): CD
After the end of The Nerves, Paul Collins and Peter Case started a new outfit. Previously only two songs were ever made available to the masses via a Bomp compilation. Now from the archives comes this thirteen-song release. Only three songs look to repeat from the recent Nerves CD. This sounds like a band trying to find its sound, but it really does not matter since both Paul and Peter are such fantastic songwriters. A revolving door of almost members completes the lineup here. But as quickly as it started, it ended. Case went to start The Plimsouls and the Paul Collins Beat was born. If you like even one song from either outfit, then you need this too. –Sean Koepenick (Alive)

Split: 7"
Wisconsin seems to have an unusually good instinct to stacking bands up on top of each other. This 7” is the equivalent of a River West basement show, except there are only three bands and I have yet to bang my head on the house’s plumbing system. Musically, the trio at hand offers varying speeds and ideologies of harsh, wintered hardcore punk that range in the humor/seriousness department. While not cooking up something for “everyone,” it definitely packs a punch for those who are lookin’ for it. –Daryl Gussin (Holy Shit!)

Party ‘Til You Puke: 10"
Power pop by way of smooth garage/girl groups, with a noticeable rock’n’roll influence—not in the Chuck Berry vein, so much as the kinds of bands like the Reigning Sound or Used Kids, and while, admittedly, I don’t know that kind of stuff that well compared to a lot of my friends, I do like this. I recognize Addie from Lefty Loosie (who did a good job singing before, but really sounds fantastic here), but not the other dude singing, who provides a good contrast, keeping things interesting. This is terrific! –Joe Evans III (Repulsion)

Self-titled: CD
Sounds like this emerged from the swamps of Baton Rouge, but this trio actually hails from Portland. Sparse, raw sound from this three-piece, since there is no bassist. But there’s still a decent depth here. I wouldn’t say The Cramps are my favorite band, but I bet these guys might. “Birthday Girl” actually reminds me of a Kinks song, so we are treading similar moving sidewalks at times. “Throw Me a Bone” sounds like a Velvet Underground outtake that John Cale forgot to bring his viola into the session. Intriguing material that I can see myself popping in again when the mood strikes me as I’m driving home late at night. –Sean Koepenick (Skullman)

If You Want Peace, Prepare for Class War: CD
The title to this record made me think that it was gonna be run-of-the-mill anarcho punk tinged with metal. I guess I wasn’t far off, but this record really isn’t run-of-the-mill. Ya, the first seven tracks or so are fairly standard musical fare of this genre, but the last three or four set me on my ear; they had a bit more of a hardcore sound, were a bit more catchy, and didn’t have that feeling of trying to walk with eighty-pound weights tied around one’s neck. This is not to slight the first two-thirds of the record, but the last third was so rollicking and free compared to the rest; those songs dominate my attention. Good record overall. –The Lord Kveldulfr (Useless World, uselessworldrecords.com)

64 Teeth: 7”
It took a few listens, but the Blowtops’ experimental keyboard weirdness and mentally ill sounding vocals grew on me in much the same way Lili Z’s last LP did. “64 Teeth” is a warped stream of consciousness rant that falls completely apart about half way through, the drums galloping into a mess of percussive confusion only to be brought back into some sort of song structure by an eerily held keyboard note. The flip side is more precise musically, but doesn’t shake off one bit of the lunatic vibe from side one. –Josh Benke (Certified PR, myspace.com/certifiedpr)

Torn Throats: 7”
Shit yes. The list of bands Blocked Out is compared to did not prepare me for this record. When you’re expecting “Judge meets American Nightmare” and you get “Ringworm meets Ruination” you’re bound to be a little shaken up. Shaken up in a very good way, in my case. This rips hard. Just vicious, not unlike the recent Blind To Faith record, although without the “evil” imagery. An incredibly pleasant surprise. –Dave Williams (Television)

Torn Throats: 7”
I saw this band a couple weeks before this record came in for review and these nine songs do an adequate job of representing their live show. Guttural, mid-tempo hardcore that chugs and bellows itself to point of exasperation, even if there are only a handful of people paying attention. Blocked Out take the middle ground between emotive let-it-all-out East Coast style and circle-pit-till-puke West Coast thrash. A decent expedition both live and on record. –Daryl Gussin (Television)

Guitarmageddon: CD
Loud rock’n’roll stuff along the same lines that bands like Zeke have trod prior. They pump in enough energy to deliver one overcharged, hell raising salvo of guitar-driven noise and manage to make it sound fresh. Only gripe is “A Change Is Gonna Come” ain’t a Sam Cooke cover, which would’ve been truly impressive if they’d manage to pull that kind of an endeavor off. –Jimmy Alvarado (Dead Beat)

The First Fork Years: LP
No idea how I missed these guys when they were around and I was living up there. There, being the Bay Area. Friends and acquaintances would talk Black Fork up, and make it sound like some huge event. They’d often ask me about why I wasn’t at the show, and I didn’t even know about the show until well after the fact. What’s a person to do? Well, it’s been a good, long time since those days. Longer than I sometimes realize. But life and time have that way of moving fast, and when you get hep to that, it goes even faster. S’anyways, Mess Me Up has taken it upon themselves to release all of Black Fork’s EPs, demo, comp, and split material onto one twelve inch piece of blue vinyl. A good twenty-three songs that embody the EastBay punk sound. Sort of sounds like the spawn from the union of Blatz and Filth on that split they did nearly twenty years ago on Lookout. Snotty, ugly, belligerent, discordant, and somehow catchy. One listen of the rager, “Don’t Talk to Me” will have you hooked. It has all the elements of a classic punk song. Catchier than the swine flu, and lots of pure ‘tude. –Matt Average (Mess Me Up)

Out with the Stars: CD
Singer/songwriter, Thomas Handschiegel, is armed with an acoustic guitar and the blues. He strums somber songs from a stark landscape. His vocals don’t have much range, like the monotone purr of Leonard Cohen or the dreamy sighing of Nick Drake. Unlike them, Thomas’s voice lacks richness and, at times, sounds deliberately restrained, while, mechanically, his melodies are hit and miss. The ending of “The Lost Song” is restless and tight like his earlier work on “Cocksucker Blues,” but Thomas stopped there. On the other tracks, it sounds like he’s strumming more out of habit than passion. –Kristen K (Self-released)

11 Songs by…: CD
This record reminds me of Biosphere II: a sealed-off world, filled with experiment, but a crack in the foundation. Some of the experiments work. Some of them don’t. I have the feeling that there are multiple songwriters in this band and they’re all tugging in different directions. For example, a single song, it goes from Replacements (yay!) to Blues Traveler (please, no. It’s not just the harmonica, but how it’s played.). Several songs go from a promising pole to a suspicious one. Behind The Wagon’s mode is mainly in the vein of punks-going-country, (Billy from Altaira is in it) and at its tightest and most focused, I get the self-assured strains of Whiskey & Co. and Ninja Gun. I say follow that long, dusty trail for a bit longer, put in some more miles, let the dust settle, and play it as simply as possible. –Todd Taylor (myspace.com/behindthewagon)

Collapser: CD
This is album is in my top three of the year, for sure. Hell, it might be number one. I have the Pass the Poison EP, but somehow managed to miss Resignation Day. Collapser manages to feel comfortably familiar, yet still exciting and fresh. For the uninitiated, Banner Pilot is really gritty pop punk (think gravel vocals, heavy and really busy bass work that’s actually noticeable, tempos that never really dip below fast, and twin guitars that know how to play some excellent minor key stuff against power chords), with a low-key epic quality to it. It’s like every song is somehow the story of your life while it’s playing. Collapser sounds like the album I always hoped None More Black would make. The lyrics are really great too. They have a bit of the Weakerthans’ Great Plains desperation poetry mixed with Lifetime’s direct emotiveness. I would single out some tracks, but they’re all great. Get this, and if you don’t like it… well, much like the Grinch, your heart may be two sizes too small. –Adrian (Fat)

Collapser: CD
I think it’s safe to call this the “highly anticipated Fat Wreck” debut, right? While it’s not a drastic departure from anything they’ve done before (I hear the Jawbreaker and other influences still), there’s interesting little bits that throw you at first listen (“How’d they get the guitar to sound like that?” “This kind of reminds me of Superchunk”). Overall, it’s solid, though it has that weird “problem” where if I’m not careful, I’ll find myself listening to a few of my personal highlights over and over again (particularly “Central Standard,” “Pensacola,” and “Vacant Lot”) instead of just listening to the whole thing all the way through. I think this is their best sounding record yet. –Joe Evans III (Fat Wreck)

Only Boundaries: 12” EP
Four songs of beefy emo rock, like prime Cursive, or the stuff that Revelation was releasing fifteen years ago. The musicianship is tight and the recording packs a punch and a crunch. The problem is, that while the music takes its cues from the highpoints of this much-maligned genre, the vocals are lifted wholesale from the radio emo of the last five years. The lead singer is whiney, and some dipstick screams in the background every now and then. Making matters worse, the vocals are super loud in the mix. It’s a shame, because the music shows a lot of promise; it’s just sunk by what Mr. Burns on The Simpsons would describe as “off-key caterwauling.” –CT Terry (No Sleep, nosleeprecs.com)

Self-titled: LP
Bad Sports sound as if they’ve been having late night, after work meetings discussing the finer points of the Nerves and the Urinals over half a carton of smokes and a case of: insert the name of your favorite cheap domestic beer here. Early Ramones also isn’t merely a reference here. It’s a way of life. And the Sports clearly adhere to that motto. This record gets better with every listen. –Juan Espinosa (Douche Master)

Tongue Twisting Tunes for Tiny Tots: LP
This initially reminded me of Stupid Party, with their stoner and grungy inclinations, yet pretty different because of their seeming penchant for some of the noisier, more abrasive Touch & Go catalog titles (e.g., Jesus Lizard). Then I found out that they toured with Stupid Party recently. It made sense, for sure. Another thing that I think I read (maybe in an interview that Daryl sent me with somebody, maybe somewhere else) BBR was formerly just Bad Blood. I believe that they augmented their name after a line-up change; so if you’ve been keeping an eye out for the Bad Blood full-length, I do believe that this is what you are looking for. And I don’t blame you for keeping an eye out, as it is pretty heavy and intense. Dead Broke has done some decent stuff, but this is one of the more interesting releases I have seen from them, without a doubt. I’m liking it quite a bit. –Vincent Battilana (Dead Broke)

Gift of the Sun: CD
A poppy punk band that appears to have more on its mind than girls, drinking, and farting, which immediately places them a cut above their peers. The singer sounds like he’s been listening to Rancid a wee bit too much, though. –Jimmy Alvarado (Bleeding Ear, no address)

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 689 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 705 706 707 708 709 710 711 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 755 756 757 758 759 760 761 762 763 764 765 766 767 768 769 770 771 772 773 774 775 776 777 778 779 780 781 782 783 784 785 786 787 788 789 790 791 792 793 794 795 796 797 798 799 800 801 802 803 804 805 806 807 808 809 810 811

| 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M |

| N| O| P| Q| R| S| T| U| V| W| X| Y| Z|

Razorcake Podcast Player


Black and Red Eye

If you live in the Los Angeles area and want to help us out, let us know.

Get monthly notifications of new arrivals and distro and special offers for being part of the Razorcake army.

Razorcake/Gorsky Press, Inc.
PO Box 42129
Los Angeles, CA 90042

Except for reviews, which appear in both, the
contents of the Razorcake website are completely
different from the contents of Razorcake Fanzine.

© 2001-2011 Razorcake/Gorsky Press, Inc. Privacy Policy

Razorcake.org is made possible in part by grants from
the City of Los Angeles, Department
of Cultural Affairs and is supported
by the Los Angeles County Board of
Supervisors through the Los Angeles
Arts Commission.
Department of Cultural AffairsLos Angeles County Arts Commission

Web site engine code is Copyright © 2003 by PHP-Nuke. All Rights Reserved. PHP-Nuke is Free Software released under the GNU/GPL license.