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Razorcake #85
Pale Angels, Imaginary People LP
Toys That Kill / Joyce Manor, Split 7"
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Record Reviews

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Below are some recently posted reviews.

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JOHNNY COCK AND THE NUTS / PUBLIC DEFECATION:
Up Split Creek Volume 1 Split: CD
It’s a scum punk standoff! Johnny Cock And The Nuts going up against Public Defecation in a no holds barred rumble. JC And The N make the first move. Uh oh. It’s a song about getting old… but wait, what’s that they’re following it up with? It looks like a Motörhead cover. That’s got to hurt. And what next? Songs about booze, babes, and Santa Claus. But they spelled it “Santa Clause.” Someone’s been watching bad Tim Allen movies again, and that’s just the opportunity that PD needed to sneak in with “The Beginning of the End.” Absolute violence. Growling, grating and blood-spilling. The sound of feces and razors, wielded with anger. The winner of this match is clear. –MP Johnson (Records On Tap))


JELLO BIAFRA AND THE GUANTANAMO SCHOOL OF MEDICINE:
The Audacity of Hype: CD
The Good: Biafra’s lyrics remain as witty and topical as ever, and the band he’s recruited lean more towards his collaborations with the Melvins than Lard, whose output always wavered between “wow” and “ugh” for me. There are no overt, pointed criticisms of Obama leveled here, but I think it’s a safe bet they will be along shortly, with good reason. The Bad: While the band knows how to milk the most out of a groove, the bulk of the songs are a bit long. Probably an odd and petty complaint, but it seems to me the point to some of the songs here could’ve been made more succinctly in about half the time. Chalk it up to personal preference. The Ugly: It seems the more time passes, the more relevant the bulk of Biafra’s work becomes. If anything, the social order he’s lampooned and railed against since the 1970s is regressing rather than progressing. –Jimmy Alvarado ( Alternative Tentacles)


JAY BANERJEE:
Three-Song Sampler: CDEP
Kinda an early ‘80s vibe (think: the Rubinoos, but much less produced). Note: to avoid you, the reader, having the experience I had while reading MRR when I was fifteen, here’s an explanatory sentence: the Rubinoos started in the early ‘80s, power pop, but heavy on the pop. Very worth checking out! As for Jay Banerjee, I wish the guitar sound was stronger, but I could see this guy’s next release being super, super good. The first two songs are the best, so, Mr. Banerjee, please stick with the catchier variety of sounds! Also worth noting: this guy appears to lack a label (this is self-released), so please take note, punk businessmen and women! Also, my extensive research has uncovered his blog, which features a hilarious entry about bad band names, a topic near and dear to my heart. Brief literary sample: “If your band starts with ‘The’ but is not followed by a plural or collective noun, you probably suck. I’m qualifying this because several exceptions spring immediately to mind—The Left Banke, The Action, The Jolt, The (Paul Collins) Beat, etc.—but you haven’t heard of any of them, so you suck.” If this were a cereal, it’d be Cheerios with sugar added by the consumer. Please, become Honey Nut Cheerios! You can do it! –Maddy (Self-released, jaybanarjee.net)


JOEY CORMAN:
Boneyard Betty: CD
I know exactly what you want to hear. First off, you don’t want anything that involves electric instruments, right? And I know you’re sick of drums. That’s just a bunch of caveman pounding. Who needs it? You’re fiending to hear three magical chords strummed on a lonely old acoustic guitar, aren’t you? Not only that, but you would totally poop yourself if that guitar was an accompaniment to some whining, pop punk folk shit. You know, the kind that you used to hear once in a while at open mic nights at that little café next to the university. Because I know you went there all the time, right? That’s where the good stuff went down. Oh heck yeah. –MP Johnson (Self-released)


JAPANTHER:
Divorce/Evil Earth: 7”
There are only two songs, but I’ve probably played them over a hundred times each since I got the record last week. “Divorce” is a weird/sad song that somehow sounds like Toys That Kill and The Spits at the same time. “Evil Earth” shouldn’t work. It’s got the most clichéd punk rock chorus ever, but is saved by the strategic deployment of a few refrains of “Yeah, motherfucker!” That’ll get it done. –Jim Ruland (Arkam, myspace.com/arkamrecords)


IRON REMINDERS:
Self-titled: LP
Me and my friend Kareem like to talk about “punk for old guys.” That’s music made by people who are closer to thirty than eighteen and still like the short-fast-loud favorites of their youth. Punk for Old Guys strives to maintain aggression while playing something more challenging and unique. Iron Reminders does it right. This 12” has ten songs in less than twenty minutes, song titles like “TV Dinner” and “Old Dudes with Hard Tunes,” and a Pettibon-esque drawing of a train wreck on the cover. The music is classic ‘80s hardcore with super-tight drums and the occasional choppy math part. –CT Terry (Spastic Airlines, no address available)


INTRO5PECT:
Record Profits: Record Profits
I first heard these guys a few years ago from a collaboration they did with Stza of Leftover Crack/Star Fucking Hipsters. The band’s a fairly unique-sounding mash-up of Anti-Flag style political punk and electro synths and drums. It’s actually better than it sounds. Seven tracks is about right, too, because the songs can start to sound similar after a bit because of the electronic percussion (which actually supplements a live drummer). The one big complaint I have about this CD is the last track “Plastic World,” which is a Naked Aggression cover. The lyrics to that song are just incredibly bad, and it becomes really clear when Sara the synth player takes the lead vocals. Her voice makes the song sound annoyingly close to an eighth grade diary entry set (loosely) to music. Cut that song off and you get a pretty solid EP. –Adrian (A-F/Geykido Comet)


INTO THE STORM:
Amidst a Sea of Chaos: CD
Dang! Initially, this band’s name and CD artwork had me expecting a third-rate metal band. Not the case. It’s kind of hard to explain exactly what Into The Storm sounds like. Much of this record sounds like I, Fail-era The Spectacle-meets-Catharsis, but the music occasionally ventures into Breather Resist/Young Widows and/or Oceanic-era Isis territory, without remaining drone-y for too long. There’s even some 90s “screamo” vibe going on here, like Shotmaker-style rock parts. It’s also smattered with off-kilter, atonal leads ala Black Flag and even captures some of that SST tone like St.Vitus or later Bl’ast. Regardless of who it sounds like, it’s heavy without being metallic, quirky in that Washington way, super intense, and fucking awesome. Lyrics are dark and poetic but hopeful without getting too corny. Even the aesthetic of the name and layout lost its “metal-ness” once I spent some time with the record. Great dynamics, cool samples, very ‘90s. Right up my alley. –Dave Williams (Alive & Breathing, rideintothestorm.com)


INTENSIVES / PANIK ATTAK:
Split: 7”
The Intensives play slightly down tempo (for hardcore) hardcore, which they’re damn fine at. A sort-of tightness reigns, with grit chorus and focused beam, and they know when to end a song—never a problem with hardcore, I guess—which is loudly and quickly. While Panik Attak says: “We sound like echoes of these mangled bands, if they were to cram into clown cars, speed head on into each other, scraped off the pavement and molded into four ugly rejects”. Their description definitely isn’t wrong, but it’s more of a reverbed, talk-singing Rob Halford backed by Dirt McGirt hardcore with rock and roll leathers, all recorded (of course) in a basement. –Andrew Flanagan (Longshot, myspace.com/longshotmusic)


INBRED, TH’:
Legacy of Fertility: CD
Though fairly obscure now, Th’ Inbred were a quasi-known band amongst punk’s great unwashed back in the ‘80s. In their relatively short period of existence they managed a self-released EP and two LPs for Toxic Shock (a label that was quite the bee’s knees in its own right in that time) before throwing in the towel in ’88. All of the above— Reproduction, A Family Affair and Kissin’ Cousins, respectively—and a few unreleased tunes have been compiled by the good folks at Alternative Tentacles so that a new generation of punters can hear what all the fuss was about. What you get for your buck are a truckload of thrash tunes heavily tempered with jazzisms, wild tempo, and rhythm shifts and sarcasm-tinged lyrics that are not afraid to piss on religion, politics, and, especially, the punk scene itself. While the stuff here might occasionally seem a little quaint after twenty-odd years of explorations into hardcore’s various hues, there are still enough surprises to be found to keep the most jaded Mohican guessing. Having not heard ’em since the respective releases on here were new, it was nice to revisit a band that managed to retain a sense of self when the rest of the scene pretty much actively pandered to some pretty stupid and stifling pigeonholes. –Jimmy Alvarado (Alternative Tentacles)


IN DEFENCE:
Into the Sewer: CD
I still love me some really heavy, fast bands. Problem is, I can’t stand ninety-five percent of the other people into really heavy, fast bands (even more so in the live setting). That’s what I love about In Defence. Hard as hell, but substituting the macho bullshit that comes with a lot of this stuff for light-hearted goofiness that isn’t afraid to poke fun at the genre. And besides, musically speaking, they absolutely rip. “Straight Edge Hangover” is the anthem I’ve been waiting for, for a long time. One of the best hardcore/thrash bands going right now? I think so. Tacos forever. –Joe Evans III (Learning Curve)


IMPULSE INTERNATIONAL, THE:
Point of Action: LP
Finally! This is something I’ve been waiting for since last year. After a few singles in the past couple years, The Impulse International have seen fit to put out this full length album; high-energy power pop with some British mod influences throughout. Well played with a slight bit of rawness that keeps things loose and fun. The pacing is perfect. They come on quick and keep the energy up. They switch into a moderate pace here and there to break things up, with songs like “Rooftops & Bus Stops,” “Pretty Girls,” and the awesome “Automatic Breakdown.” Songs like “Tina, No” and “I Found You” remind me of the Undertones, and, you know, that’s a good thing. Supreme record all the way through. Worth the wait. –Matt Average (Deranged)


IMPULSE INTERNATIONAL, THE:
Point of Action: CD
When bands try to pull the telecommuting/living all over the place thing, the results are either terrible, or really great and interesting. Fortunately, this falls under the later. Finally getting a full length together after a slew of 7”s, The Impulse have always had a fairly distinctive power pop meets classic ‘70s punk sound (very similar to the Buzzcocks or Undertones), but I feel like even more so here. This could pass as a lost Richard Hell and the Voidoids record that’s more straight up, without all the weird, wanky guitar parts. Great and interesting, indeed. –Joe Evans III (Dirtnap)


IMPULSE INTERNATIONAL, THE:
Point of Action: CD
Think Exploding Hearts, but I’d bet a bag of gummy peachy rings that this band also likes the Barracudas and the Undertones. Here’s the thing about reviews. There are plenty of bands that aren’t bad and that plenty of people would like, but they fail the “jump up and down and have a mini-solo dance party test” for me. And sadly, this is one of those bands. Maybe I’m wrong. I mean, they have a single on Mutant Pop. They have all the right reference points, and I’d definitely go see them play, but if this were a cereal, it’d be Fruity Pebbles. The concept is there, and I’d grab a handful if someone offered it, but I wouldn’t buy it. –Maddy (Dirtnap)


IDLE HANDS:
Volatile Matters: 7”
One of my favorite bands on the planet made up of some of my favorite people on the planet. Whatev. I can review objectively. That said; this is totally awesome. If you were into their Postponed LP and/or their amazing self-titled EP, get ready for Idle Hands’ best songs yet. I had the great pleasure of seeing these songs performed every night for two weeks this summer. Not for a second did I tire of them, and I still find myself spinning this record multiple times a day. For any not familiar, imagine a slightly darker, faster Statues with some uniquely European elements that are tough to put your finger on and you’d be pretty close. Get all of this band’s records immediately. So, so great and that much better when you know that the guys behind the songs are all heart. –Dave Williams (Rockstar)


HYDEOUTS:
Creeps at Night: 7”
I wish there was something that allowed bands to do research to find out if the concept they have stumbled onto has already been used, exhausted even, by bands that came before them. Perhaps if there was a world wide web of information, accessible at the click of a button, the guys in the Hydeouts could have Googled… err, I mean, researched “Rock and Roll Is Dead” and found out that, yes, the idea of a rock band rockin’ out about how rock has kicked the bucket has in fact been played out. That bastard Lenny Kravitz made me sick of the concept. Actually, the lunatic who lived in the apartment above me and blasted Crapvit’s greatest hits over and over for full days at a time is to blame for the fact that I now get completely enraged when I hear the words “Rock and Roll Is Dead.” It’s like I’ve got some weird form of rock and roll PTSD. Now, if the Hydeouts had done a song called “Horror Rock Is Dead,” this whole thing could have been avoided. Awww, I can’t be too hard on these guys. The fact is that the song is good, and they more than redeem themselves on the flipside with “The Creeps at Night,” a monster stomper that totally hits the mark. –MP Johnson (Creepy Anthem, myspace.com/thehydeouts)


HOTLINES, THE:
Self-titled: CD
Billy Joe Green Day aspires to be in a Queers clone band. They have better hooks than others, I’ll give ’em that, but in the end, too many bands have long ago tainted this flavor of Kool-Aid. –Jimmy Alvarado (lamf.biz))


HOSTILES, THE:
Always Looking Forward: CD
Ska from Scotland which must make them Skatish. Sorry, I couldn’t help myself. I also can’t help myself that ska is my least favorite subgenre in punk rock. Hence, I had a hard time embracing this disc with the “ska bounce” and the cliché horn parts. It sounded quite typical of the genre, but maybe a bit more predictable and mundane than usual. My favorite parts of the album were the portions that eschewed the least blatant calling cards of ska. Like the intro to the second song “Where Are You?” and the conclusion of the last song “A Bad Day for Shorts” when they get all metal. However, you may end up liking this if you have a tendency to enjoy ska. –Jake Shut (Self-released)


IMPULSE INTERNATIONAL, THE:
Point of Action: CD
Pop punk the way Dirtnap Records does best: snotty voice, catchy rhythms, lots of waaaaa ohhhh oh oh. I like it, but it’s missing an edge that other bands on the label have; feels a little more forced here. But if you grab all things pop punk, there are some solid songs in there. Maybe I’m jaded these days…. –Speedway Randy (Dirtnap)


HOSTILES, THE:
Always Looking Forward: CD
I noticed in my pile of review materials that I had one part of this CD’s promo copy packaging, with no actual CD. Unsure of what to do, and ultimately wanting to keep from potentially screwing them over, I figured I’d at least check out the website they’d listed. From what I can tell, this is all your standard Less Than Jake-influenced ska punk. Admittedly, not the kind of stuff I’ve listened to since I was a lot younger, and if I was going to go back now, I’d probably just stick with the influences proper. I tried. –Joe Evans III (myspace.com/hostileska)


HOSTAGE LIFE / KNUCKLEHEAD:
Split: 7”
Longshot Records continues to impress with another hearty entry in their split series. Showcasing two Canadian streetpunk bands from opposite coasts, this release brings together Western Canada’s Knucklehead with Ontario’s Hostage Life. As is bound to happen with splits from time to time, one side is way stronger than the other. Although Hostage Life is nothing to frown upon, The Knucklehead track side is an instant classic. It’s like sharing a pizza with someone who ordered something you like, but don’t love on their half. You can still share it, even though you’d rather have hot peppers on the whole pie. Knucklehead is super fucking melodic and danceable, reminiscent of Reducers SF. Hostage Life are in the same vein, but are somehow a little bland. I bet Hostage Life was great live, although they sadly called it quits at the end of 2009. Kudos goes to Longshot for continuing to spread wondrous oi and streetpunk across the globe. –Art Ettinger (Longshot)


HINDI GUNS:
Do or Die: CD
The opening shot here, “Sugar Drone,” sounds like it was pilfered from the Poster Children’s a-list of tunes. The rest are steeped in that same quasi-psychedelic post-post punk vibe so many of the late ‘80s/early ‘90s indie bands loved so much. Good stuff on the whole, though I’m not quite sure why they selected Yukio Mishima as their cover model. Maybe for no more reason than just ’cause he was an interesting cat. Look him up ’n’ learn something new, kids. –Jimmy Alvarado (myspace.com/hindiguns)


HINDI GUNS, THE:
(Many Many) Miles Away: CD Single
It seems there are two The Hindi Guns—one from Los Angeles and one from Portland, Oregon—and appears that they share a couple of band members. Not that it matters much, as far as I can tell. For the record, this is the Stumptown version of the band. This is a great looking CD single designed to look like a 7” record. Unfortunately, the music doesn’t live up to the promise of the packaging. “(Many Many) Miles Away” alternates between a nonchalant groove during the verses and an awkward, cringe-inducing chorus. It’s the vocals that make this so unbearable a listening experience. I want to smack the slack jawed, Lou Reed vocal delivery out of the singer’s mouth. “Loaded Gun” is a Dandy Warhols throw away, which is saying it sucks something awful since the Dandy’s stuff is garbage. College indie rock, Brit pop wannabe schlock. –Josh Benke (French Fan Club, myspace.com/hindiguns)


HIGHER GIANT:
Al’s Moustache: 7”
You know those supergroups that showcase aging, once-great punks crooning boring post-punk indignities? Fortunately, Higher Giant is not one of those bands. Instead, they’re an earnest, lovable melodic punk outfit featuring hardcore legend Ernie Parada (Token Entry) on vocals and guitar, backed by members of Warzone, Lifetime, Kid Dynamite, Paint It Black, and The Arsons. Growing up doesn’t have to mean growing into lameness. As simplistic as hardcore pretends to be, there are some fucking sharp musicians hiding in the mix. Four of them are rocking out in Higher Giant. I can’t wait for a full-length from these guys. This EP is on beautiful colored vinyl, with a free digital download included. It’s a truly excellent sampling of unimposing, post-core brilliance. The emergence of Al’s Moustache will make you rethink your desire to euthanize the old guy in the back of the room. –Art Ettinger (Black Numbers, theblacknumbers.com)


HIDDEN SPOTS:
Self-titled: LP
Being a small town punk in his late ‘30s, I’m going to take some stabs here, and it’s based on a talk I had with my friend, Matt’s Incredible. In the mid-to-late ‘80s, punk rock as we know it was in pretty bad shape. The first and second waves had come and gone, yet it was still slowly infiltrating the lower population centers in America: the high desert, the Midwest, the South. So, it wouldn’t be completely out of the question to find a Suicidal Tendencies or JFA record then picking something from an active, pushed band on college radio that was more ruffle-cuffed, overly melodic, and largely English. Cure. OMD. Depeche Mode. The Bolshoi. Icicle Works. Love And Rockets. Flesh For Lulu. Simple Minds. For fuck’s sake, there was no interweb, barely no instant anything when it came to underground music. “New” could be a decade. So when the gruff-voiced Eric Nelson launches into covers of two of the aforementioned bands, a couple of the pins drop in the lock to the safe to further understanding the riches of the Hidden Spots. 1.) Fuck pretense. Blame the world and society, but don’t blame people over thirty for knowing and liking this stuff, word-for-word, unironically. 2.) There are valuable lessons to be learned from “Duckie Rock” (Pretty in Pink) by many bands, especially in the hooks and melodies departments. 3.) Reclamation, Chattanooga Cultural Division, has made one of the most exciting, powerful, and positive full length records in all of 2009. It spits fire at organized religion, the concept of national pride, and hugs its friends closely with as much ferocity. I’m agog on how great this is and I was already on “Mike Pack Shit-stained High Five” bandwagon a couple years back. –Todd Taylor (Mauled By Tigers)


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