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Razorcake #90
White Murder, both LPs
Treasure Fleet, The Sun Machine LP
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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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PRESSURE 28:
“Spirit of 69” b/w “Pull No Punches': 7"
Two-tone and oi sound with elements of The Adicts and The Clash. They only gave me two tracks, so there’s not much else to say. –thiringer (Longshot, longshotmusic.com)


POONTEENS, THE / THE ENLOWS:
Split: Cassette
The Enlows play pretty lo-fi pop punk. Songs about girls, drinking, and breaking uuuuup. After a weekend at Awesome Fest listening to so many bands do this, I just can’t listen to it more than once, more than twice, official verdict: bleh. The Poonteens play pretty poppy punk as well, but nice and sloppy with ugly sounding vocals. That makes it better. Also their side ends with a Guns & Roses cover. I only play that side of the tape from now on. By the way, this stuff is recorded live. Some people (myself included) tend to not be that into live recording, so now you know. –Rene Navarro (Poonteens Music)


PLIMPTONS, THE:
00’s Nostalgia with the Plimptons: CD
I saw Madness’s “Our House” video for the first time in about twenty years the other day, and, stunningly, it actually made me feel kinda good inside—like angels were peeing pink sugar water into my lungs—for some unspecified reason ((as opposed to back in the day, when i’m sure i was lobbing sneakers and pull-tab beer cans at the TV in disgust every time it came on)). In retrospect—and, perhaps, ONLY in retrospect—that was a pretty good song, really. I have no idea what the fuck this has to do with the Plimptons, other than the fact that, if MTV still played music, i’d like to think the Plimptons would be in Madness-esque heavy rotation ((which brings up a chilling tangent: Is “these guys would be in heavy rotation if MTV still played music videos” this generation’s version of “in a perfect world, this song would be blasting out of every AM radio in America”??? Yikes!)). They’re poppy and ska-ey and clever and jumpy and sing with funny accents because they’re from Scotland ((good, i’m sick of Ireland anyway)), but they’re also punky because GOD DAMMIT WE HAVE RAISED A GENERATION OF CHAMPIONS. Who knows, for all i am aware, maybe this band is big and famous and continually overplayed at the corner bar ((and, hell, maybe MTV plays videos all the time again? How would i even know?)), but i’ve never heard of ‘em before and i’ll go so far as to say that their videos ((viewable on many popular social networking sites)) are mildly life-affirming necessities. HARK, THE HERALD ANGELS SING! BREATHE DEEPLY OF THEIR SUGARY TINKLE!!! BEST SONG: “I Don’t Wanna Be Dead” BEST SONG TITLE: “The Day My Baby Said She Hated Ska.” FANTASTIC AMAZING TRIVIA FACT: Nobody really knows what the last decade was called, and i don’t blame them. –norb (16 Ohm)


PIMPS, THE:
Fuck This Shit, We’re Outta Here: CD
Quirky rock/punk, deftly executed and long on humor. –jimmy (Crustacean)


PHANTOM LIMBS:
Self-titled: CD
Can’t say with any certainty, seeing as the disc came by itself in a black sleeve with no additional information and I wasn’t able to find diddly on the web about it, but unless they decided to ditch the synth-laden death punk of their classic period and go down the droney-chord college rock route, this ain’t the same Bay Area band that formed in 1999 and released no shortage of LPs and singles over the past decade. –jimmy (Clown School, no address)


PAZAHORA / GHAUST:
Split: 7"
Two hardcore bands from Southeast Asia drop one long, sludgy song a piece. Pazahora add ominous black metal to their crust and bring to mind One Eyed God Prophecy or Union Of Uranus. Their song ends with an acoustic break and a sound bite from the documentary One Nation under Lee, about Singapore’s first prime minister. Their liner notes and lyrics discuss violence in Singapore, which has the highest execution rate in the world. Ghaust’s track is a terrific doomy instrumental companion. Nicely designed packaging with handmade flourishes. –CT Terry (Diseased, diseasedrecords.com)


PARTY BY THE SLICE:
Pizza’s Not Dead: Cassette
Down tuned party thrash from Milwaukee armed with a pizza gimmick and some really tongue-in-cheek lyrics. Sorta like R.A.M.B.O. minus the soapbox. I love the way they spoofed The Exploited’s “Punk’s Not Dead” and Morbid Angel’s logo for their artwork. Musically, it’s not terribly original or awfully bad. It’s exactly what you would expect from a band that obviously doesn’t take themselves too seriously and has fun doing what they do. More power to them. –jimmy (Halo Of Flies)


PARTING GIFTS, THE:
Strychnine Dandelion: CD
I count my lucky stars that I got to catch The Reigning Sound the last time they came through L.A. They were amazing. Nothing flashy, just no-motion-wasted, age-appropriate, kids-don’t-know-shit punk rock. The drummer’s torso barely moved: all limbs. There wasn’t any flailing, but it was powerful, energizing, no-nonsense, and great. After their set, Greg Cartwright got back on stage and did a mini, four-song set with The Parting Gifts, where he duets with a woman who was in the opening band, The Ettes. Strychnine Dandelion is like tuning into and lingering on a perfectly DJ’d radio show. Soul, R&B, and ‘60s rock are all played, without the allergizing dust, the smell of yellowed record jackets, or the embarrassing retro-Fonzie-as-lifestyle genre locking other bands happily handcuff themselves to. It’s this type of time-traveling wizardry—it’s contemporary music, my friends, without discarding that initial fire of entire genres of music that many “industries” have declared not economically viable in this new world—that keeps me in healthy awe of and appreciation for all of the bands Greg Cartwright’s involved with. This is some fantastic hard-to-make, easy-to-listen-to music –todd (In The Red)


PARASITIC SKIES:
The Descent: CD
Mid-tempo metal that hearkens back to what started happening in the ‘90s with bands like Integrity and Earth Crisis: heavy riffs galore and a lot of low end. Yet not one song stands out and half way through this gets pretty tedious. –Matt Average (seventhdagger.com)


OUTLAST / REVEAL THE TRUTH:
Split: 7"
Two straightedge bands that are pissed about having to do stuff and crutches and pride and whatnot. Both are well recorded, fast, and pissed sounding with mosh parts appearing in all the right places and logos that feature varsity lettering. Both bands are solid and sincere with reasonable discourse and no ridiculous thug posturing. Formulaic, but who wants to hear free-form straight edge? Good, good, good if that’s what you are into. G to the O! –Billups Allen (Dead End, myspace.com/deadendrecordsjc)


ONLY FUMES AND CORPSES:
Who Really Cares What Really Lasts: CD
Hey, look at this. There are still people making cheesy screamo metalcore. Yeah, I know. I thought that whole fad reached its conclusion years ago too, but, apparently, these guys disagree. Oh. Shh. Here they come. Don’t say anything. Ha. Shh. Oh, hi OFAC. Ha-ha-ha. No, I’m not laughing at you. How could I possibly laugh at something with so much heart, so much emotional depth. I mean, that first line: “This is your cross to bear, this is my axe to grind.” So original. So deep. Ha-ha-ha. I’m sorry. I can’t even keep a straight face. But no, keep doing what you’re doing. Walking clichés that actually incorporate clichés into lyrics? Brilliant. –mp (Underground Movement)


OFF!:
First Four EP’s: LP
New band from Keith Morris that rose from the ashes of an aborted Circle Jerks session. Joining Keith in this controlled mayhem is Steven McDonald (ex-Red Kross) on bass, Mario Rubalcaba (ex-Hot Snakes) on drums, and Dimitri Coats (ex-Burning Brides) on guitar. Coats abandons his stoner rock licks and inhales generously from the leftover seeds of Greg Ginn. But it’s not a rehash. Live, they bring more intensity to the party. “I Don’t Belong,” “Darkness,” and “Fuck People” will blow your speakers into hyperspace like a slingshot. Believe the hype. This is real. –koepenick (Vice)


OFF!:
First EP: 7"
My first thought when I heard about this, was that it was weird that Keith Morris was fronting another band named after bug spray... Then I heard the record and promptly shut the fuck up. I will say this once and I truly believe it to my core. Keith Morris is punk rock. Period! Four blasts here that will leave you picking up the brain matter off the floor before you know what hit you. Of course it sounds like Black Flag and Circle Jerks. It would be impossible for it not to. The important thing here it that it sounds fresh. The anger is seething. He’s not some old dude trying to cash in on past notoriety. He’s got problems and he’s pissed about it. Back him up with some stellar guys from the likes of Redd Kross, Burning Brides, and Rocket From The Crypt, add some Raymond Pettibon art, and OFF! will remind you that hardcore punk is still alive and angry! I’m anxiously awaiting my “First Four EPs” box set in the mail. Stay tuned for that review. –ty (Vice)


OFF WITH THEIR HEADS:
I Will Follow You: Picture Disc
I’m fairly sure that by now most if not all regular Razorcake readers are familiar with Off With Their Heads. I’m also pretty sure that their minds are made up as to whether or not they care much for this band. But for those unfamiliar or curious: this is a good a place as any to start. “I Will Follow You” is an all new song and features vocals that seem less gravelly when compared to any of their previous recordings. On the flip side you have a medley of two Cleveland Bound Death Sentence songs and a live version of the song “Janie,” from their split with J Church. So, in a nutshell, you have them at their best (the live song), their influences (the CBDS covers), and what they’re up to now. The addition of this 12” with 7” proportions brings the grand total of picture discs in my collection to about eight (I have absolutely no fondness for ‘em) and is the first to be shaped like a fireball. –Juan Espinosa (Pirates Press, piratespressrecords.com)


NONE MORE BLACK:
Icons: CD
This is an all right return after four years for the melodic punk band led by Jason Shevchuk and his distinctive rasp. I say all right, because it never achieves the snap that set their previous gems This Is Satire and Loud about Loathing apart. While the band seems in fine form, I will say that it’s a lack of distinctiveness to most of the songs that knock this down a few pegs for me. There is the caveat, though, that the double time “I’m Warning You With Peace & Love” and the moody and atmospheric “Here Comes Devereux” are two of the band’s best songs yet. –Adrian (Fat)


NONE MORE BLA:
Icons: CD
Despite the band’s pedigree and supergroup status of sorts, None More Black’s third disc for Fat—Icons—is a mixed bag. Firstly, the disc just isn’t a very fun listen. The songs don’t seem to do more than simmer and bounce along without ever really kicking into gear. There are a few bright spots, like “I’m Warning You with Peace and Love” and the disc’s closer, “Budapest Gambit” but, unfortunately, there are too few and too far between to warrant many repeated listens. Secondly, the disc is a bit too overproduced for my ears and not in the typical Fat way. Think more of an Offspring, radio-toned way. Lastly, Jason Shevchuk’s bellow became pretty monotonous pretty quick. –Garrett Barnwell (Fat Wreck Chords)


NOMOS:
Notes from the Acheron: 12"
I have yet to tire of listening to “The Fall.” It starts off with a mid-tempo intro then rips open with some full-on thrash. So fuggin’ good. Life affirming. Nomos, from Brooklyn, crank out some dark, noisy, and heavy hardcore. Comparisons have been made to bands like Poison Idea and Citizens Arrest. I sort of hear that, but those are lazy references. These guys are strong enough to stand on their own. If these guys are hip to the Swell Maps (as they cover “Vertical Slum”), then it’s obvious they’re not some typical band. The lyrics are opaque at times, but interesting nonetheless. It’s as though you’re sorting out a code. I like how they can deliver white-knuckled thrash, then switch over to something like “O’Fortuna,” which slows things down temporarily at the start, then it’s back to full-on, straight to the bottom of the deep end and the sound of facial bones crunching. Four records reviewed in this issue have reaffirmed/reignited my faith/love of hardcore. This is one of them. –Matt Average (Deranged)


NOFX:
The Longest EP: CD
So it’s come to this: I’m reviewing a NOFX album. For those of you who came in late ((i.e., the last fifteen years or so)), one of my first and most infamous columns for MaximumRockNRoll was a merry romp detailing my long-standing and permanent dislike for NOFX, from which i derived much of my early fortune. The deal, in so many words, was that i saw this band in 1986 when they were a three-piece ((famously standing up in the middle of their set, yelling “For THIS they took the Replacements off the P.A.???”, then leaving the building)), a few years later when they were a five-piece, and numerous times when they were their standard four-piece configuration. Three-piece, five-piece, four-piece, slam, i do not like them, Sam I Am ((hell, i barely like Samiam, come to think of it)). My contention is ((or, at least, was)) that they play a rather insipid style of what i used to call “generic hardcore” in the 80’s ((later mutating into a slightly more sipid style of pop-punk in the 90’s)) and now call “fake hardcore” in the 2000 AD’s, with “funny once, if that” lyrics to which people always feel compelled to sing along – not out of any legit desire to sing along, mind you, but just to ensure that YOU, THE OTHER PERSON LISTENING, UNDERSTAND THE LYRICS and thereby BASK IN THEIR GLORIOUS ALLEGED MIRTH AND WIT. Their album covers were ugly and un-punk-looking, and, to me, they were pretty much the poster boys for punk rock moving out of the record stores and into the skateboard shops, and, boys, that don’t move me. I’ll explain this “fake hardcore” thing: Listen to a NOFX song. Tap your foot and count out the beats, like a music teacher would do it: “One…two…three…four…” ((with a band like NOFX, it’s sometimes hard to figure out if you should be counting “one…two…three…four…” or “one-two-three-four, one-two-three-four” or “1234123412341234!” which is part, but not all, of the problem)). Make note of the counts at which the chords change. The vast, vast, VAST majority of the time, the chords change on “one.” In other words, any given chord almost always plays for exactly four beats—or some exact multiple of four beats— before giving way to a new chord. Now, listen to a punk record that doesn’t suck ((if you’re a long-time NOFX fan, this may be a challenging proposition)). Tap your foot and count out the beats again. Where do the chords change? HINT: ALL OVER THE FUCKIN’ PLACE. Four beats = one measure. It is SHIT BORING to listen to music where the chords only change at the beginnings of new measures. It’s fuckin’ garbage! Folk music has faster chord progressions than this! The ironic thing about this whole affair is that their acoustic numbers ((“13 Stitches” “My Orphan Year”)) and joke reggae number ((“Kill All The White Man”)) are actually pretty together. The punch line is that, in a lot of ways, NOFX don’t actually suck. They’re pretty good musicians, they are occasionally insightful and funny, and they are obviously dedicated to The Scene. They just suck at punk rock, the one thing at which we have reasonable grounds to expect them not to suck. That is all i have to say on the matter. How’s the tour bus running? BEST SONG: “13 Stitches (Acoustic)” BEST SONG TITLE: “13 Stitches (Acoustic)” FANTASTIC AMAZING TRIVIA FACT: Although i am straight and out of Green Bay, Wisconsin, i am not now nor have i ever been the titular punk guy in “Punk Guy.” –norb (Fat)


NOFX:
The Longest EP: CD
I love NOFX comps, like this and the 45 or 46 Songs b-sides album from a few years ago. This CD collects EP tracks and out-takes from throughout the length of NOFX’s career, from 1987 (The P.M.R.C. Can Suck on This) all the way up to 2009’s Cokie the Clown. With the exception of the really rough and kind of shitty P.M.R.C. EP and “S&M Airlines,” most of this stuff is gold. NOFX seems pretty odd on the edit function, as most of their full length albums have at least a couple of real clunkers on them (cough, “Anarchy Camp,” cough ,”My Heart Is Yearning”), yet awesome stuff like “Jaw Knee Music” and “Glass War” end up as outtakes or b-sides. The strength of this CD is that Fat Mike didn’t feel as obligated to fill up the run length of the separate shorter releases comprising this with baffling filler, so this actually is pretty tight. Cut off the last five tracks and you have one of the better NOFX releases. –Adrian (Fat)


NOFX / SPITS:
Split: 7"
Not necessarily a split that I’d ever envision hearing, but it really works. And that’s not all the cocaine on the cover talking! NOFX really set it off with the ripping “Hold It Back” and keep the heart racing for the duration of their side. The Spits are doing what The Spits do. Fucked up, creepy, awesomeness! I can’t get enough Spits, ever! I think it’s pretty great of Fat Mike to put this out, knowing that it would get a lot more people checking out The Spits who normally wouldn’t listen to them. It’s also pretty funny that there’s a rolled up dollar bill next to The Spits’ name and either a hundred or thousand dollar bill next to NOFX. –ty (Fat)


NICKEL SLOTS:
Self-titled: CD
Completely benign, moderately toe-tapping pop country rock for the genteel set. I can hear this playing unobtrusively in the background of a carefully constructed lounge where I don’t belong, or playing in the background of some TV show I don’t watch. –thiringer (Self-released)


NEIGHBORHOODS, THE:
The Last Rat: CD
Finally a new CD from this killer Boston outfit, from one of the last shows presented at The Rathskeller on October 24th, 1992. Two discs of vintage ‘Hoods that’s meant to be cranked up loud. “Diane,” “Hoodwinked,” and “Prettiest Girl” stand out, but with thirty-one tunes, you can pick your own crowd pleasers. You’ll be surprised by the handful of covers presented in the set as well. This is great to listen to in the basement with a couple cold ones. But if you are in the Boston area, check your local listings; they are playing live again with some frequency. Now bring on those studio reissues! –koepenick (Ram Van, no address listed)


NEGATIVE APPROACH:
Self-titled: 7"
I have never understood why this 7” has been unavailable for so long while the band’s far inferior (but far from unlistenable) Tied Down LP has remained in print. Now this record has been reissued, and it makes even less sense. I heard this for the first time when I was thirteen years old and listening to it again on this reissue makes me feel the same way I did back then. The thin, raw production sounds just as fresh and caustic as it before I heard 10,000 other bands (and started about one hundred of my own) trying to cop this sound. The song “Nothing” makes more sense to me than Jean Paul Sartre, and I love it. My only complaint is that the “updated” cover art (a Photoshop rendering of the original Exorcist cover) looks terrible. –Ian Wise (Touch And Go)


NATURAL CHILD:
Self-titled: 7"
I’ve had this 7” for a few months, picked it up at my local record store because it had a sticker saying “Ex-Horribly Wrong.” The Horribly Wrong is my absolute favorite Bloomington, IN band. They came and went before I moved to Bloomington, but I’ve been lucky enough to see them twice at reunion shows. Natural Child hails from Nashville, TN, and features Horribly Wrong bassist/co-singer Seth Murray. The man is something of an enigma. I only met him a few times before he left Bloomington. He’s certainly friendly enough every time I talk with him, but for some reason, Natural Child has not played Bloomington and there is no mention of any Horribly Wrong connection on the label’s website. A damn shame! Four sing-a-long, tongue-in-cheek dumb rock’n’roll songs about teenage crack smokers, pity fucking, and horny mothers. Definitely not polished but not as low-fi as The Horribly Wrong. Hopefully I’ll be able to see them live soon. Natural Child seems to be picking up steam, as they tour frequently and played some of those Scion-sponsored garage rock shows. –Sal Lucci –Guest Contributor (Infinity Cat, infinitycat.com)


NEW LABOR:
Self-titled: 7"
Back in the early days of hardcore, Lee Ving used to brag that what made Fear stand out from all the other three chord punk bands at the time was that the members of Fear were “musos.” In other words, they could actually play their instruments. Now, I’ve managed to forge a reputation as a half-witted connoisseur of trashed-out, two-chord tard punk— the Grabbies being a primo example—so it might seem a bit incongruent that I would be so impressed by a band like New Labor. But impressed I am. This is a band of musos, no doubt, and they know more chords than all the other bands I like put together. Stylistic comparisons could be draw with Fear, Jesus Lizard, the DKs, Nomeansno, and the Minutemen, but this band is a unique brute of its own. The songs here aren’t overly mathy, but feature pushy riffs, all full of angles and elbows, and vocals that are a cross between a rutting sasquatch and a perverted televangelist venting his spleen to his flock. I don’t know if the magic hypno-glasses on the cover actually have me somehow mesmerized, or if I’ve just grown a few more neurons lately, but for some reason I like this a lot. Musos or not, this is one barrel-chested, cauliflower-eared, mean brawler of a record. And it’s surprisingly catchy, to boot. –aphid (Self-released, thenewlabor.com)


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·CRIPPLED FOX / LEI DO CAO
·HUSBANDS, THE
·PARASOL
·DEFEATED, THE
·NO-NO’S, THE
·SKULLS, THE / TEXAS THIEVES
·OTTOWA
·HALF ACRE DAY
·SAFETY PIN GIRL #18


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