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· 1:Patrick Houdek Photo Column - Lost Cross House
· 2:The Backpatches of NYC (Collection 5)
· 3:The Falcon, The Copyrights, Sam Russo live at the Troubadour, July 16, 2016
· 4:#413 with Bianca and Rhea of LA Zine Fest
· 5:Razorcake #93 Now Available, featuring Basement Benders


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Razorcake #93
One Punks Guide to Pinball, by Kayla Greet
Razorcake #92
Spokenest, Gone, Gone, Gone LP
Pinned In Place, Ghostwritten By LP


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Record Reviews

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Below are some recently posted reviews.

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HAIRSPRAY BLUES:
Lost Negatives: 7"
Bleh… not a fan. Only three songs on this record. Songs are sloppy and, quite frankly, all over the place. –Corinne (Self released, hairsprayblues.com)


GREAT FRIEND OF MINE:
Desperate Songs: Cassette
A self-released, ten-track hot pink cassette full of screamo/artcore Floridians, accompanied by a handmade, zine-style booklet. Lyrics are like little poems or stories, not structured with verse, chorus, etc. Unfortunately, this is so outside my realm that I can’t give it the justice it likely deserves. –thiringer (Self-released)


GOVERNMENT FLU:
Fuck Poetics + Demo 2008: CD
The two 7”s collected on this CD by this band from Warsaw (it’s in Poland, dude) hark back to the sound of Boston hardcore circa 1997, but they spare us not only the Youth Of Today worship via the lyrics but also analogies to American football! The lyricist is angry and depressed, and over matters not as juvenile as whether somebody takes a drink or feeling some false sense of betrayal. If you are partial to the youth crew revival sounds of more than a decade past, but are turned off by superficial, privileged jock attitudes, check this out. –Vincent Battilana (Nikt Nic Nie Wie / Refuse, refuserecords@gmail.com)


GOODNIGHT LOVING, THE:
The Goodnight Loving Supper Club: CD
I’m bad at terms, so throw this first part away if you are a music historian or even a music reviewer yourself—perhaps on a blog, on a brick wall, or the user side of a bathroom stall door. Recent days have given us a smorgasbord of post-post-psych rock, with parts folk, parts drug rock, ‘60s and ‘70s-inspired stuff. Real flowing lyrics and harmonies, wandering guitars, folksy beats, but with good rocking pace and sometimes even a real kickass energy. I imagine it being a massive scene in Brooklyn, but it’s probably pretty wide-reaching and I’m just being mean. When it’s bad, its baaaaad, noodling, and forced. When it’s good—here’s the second part of the review—it’s like Thee Oh Sees or The Fresh And Onlys, you know? Goodnight Loving are surviving in Milwaukee (makes them even more lovable) and dang good. I didn’t connect with all the songs, but I like the sound, and the good songs are great. It’s got the folksy psych garage vibe, with sounds that seem to descend from true old country, and it works with them—really peppy and fun with that energy I was mentioning. It’s a style working from the past but the band feels young and fresh. On some o’ them review blogs, this album has been described as a lot cleaner than previous rumbly efforts (I haven’t heard them until now and am gonna check their other records out). But it doesn’t sound like they got rid of the spirit. –mike (Dirtnap)


GOOD MEN DIE LIKE DOGS:
Postscript: 7"
Good Men Die Like Dogs musically remind me of Bay Area pop punk, specifically, early Green Day. It’s quite good musically but that’s not their strong point; that would be the lyrics. Each song has a feel of nostalgic anti-nostalgia. They look over past glories without wallowing in them (one of my biggest problems with pop punk). Instead, it’s reflective. The point of the songs is about moving forward while referencing the past in order not to forget it. The record, as a whole, sounds like a letter to a friend. This isn’t just me spitting; the lyric sheet is actually laid out like a letter, which suggests that’s the band’s intention. The character in the songs is addressing someone that they have a long history with. He smiles back on the old days as he encourages pushing onward:“Salud/Goodbye/Farewell to the notions these were the best times of our lives/So long/Make haste/Chasing down tomorrow will surely bring the better days.” My problem with the pop punk genre is its smarmy, tattooed, shoe-gazing sentimentality. Good Men turn this regressive trend on its head. –Craven (Tortilla Chip, goodmendielikedogs.com)


GONADS, THE:
Glorious Bastards: CD
New release from this long-running U.K. punk band. Songs about drinking, screwing, and more drinking. There’s also a brief history lesson included on “Billy McFadzean” as well. I had to laugh at “Badly Done” when the Lionel Ritchie reference popped up. “John King Is a Veggie” and “Re-Infected” are my favorites on this eighteen-track record. The only downfall here is “Tesco Lorry,” which is a direct lift from a New York Dolls song. Otherwise this is an enjoyable listen that will go well with your favorite lager. –koepenick (Longshot)


GO RYDELL:
The Golden Age: CD
Okay, so follow me on this one. To me, the Shook Ones sound like the more emo leanings of Lifetime as filtered through Kid Dynamite’s hardcore. Go Rydell, in turn, sounds like the hardcore tendencies of Kid Dynamite as filtered through the melody and vocals of Shook Ones. And at fourteen minutes, The Golden Age is just the right length for a poppy, melodic hardcore album. Like the Shook Ones or the Brokedowns, these guys take a well-worn sound but put enough energy and craft into that it sounds fresh and vital. –Adrian (Black Numbers)


GLEN MATLOCK AND THE PHILISTINES:
Born Running: CD
One thing that impresses the hell out of me is how much the Sex Pistols’ instrument slingers learned from making Never Mind the Bollocks. Like much of the Jones/Cook collaborations, the sound here is friggin’ monstrous without disintegrating into a wall of shit that’s all volume and little else. Musically, it’s all rock and roll bluster, more Professionals than Pistols, with some of the tracks sounding like they’d fit right in on a Cult album. Can’t say this was the crème de la crème of the month, but the man allegedly responsible for the music on virtually all the Pistols’ best known tunes still knows his way around a catchy hook and knows how to make it at least sound good. –jimmy (unionlabelgroup.com)


GLASS TEETH:
Self-titled: 7"
Only one song on each side, neither one anything to be proud of. –Corinne (Problem Solved! Industries)


GIVE:
Boots of Faith: 7"
Wasn’t quite sure to make of ‘em based on the cover, but the music on the vinyl is deeply entrenched in that brief period between the harDCcore of Minor Threat and the proto-emo of Embrace and their fellow summer revolutionaries. Both tracks are hard hitting without sacrificing a drop of catchy tunefulness and serve as an example of just how far from the point the bulk of today’s emo kids have strayed. Impressive stuff. –jimmy (derangedrecords.com)


GG ALLIN & ANTISEEN:
Murder Junkies: LP
There’s a song on the new Queers LP called “I Knew GG When He Was A Wimp.” I didn’t know GG when he was a wimp, but he did send me promo records back then, when he was covering album tracks off the fourth Ohio Express album and suchlike—he was sort of a laughingstock at that point for attempting to foist off his blow-dried, denim-vest rock-pop as the product of some manner of Dead Boy-ish badass. Aaaand, of course, as we all know, somewhere along the way, the wannabe-badass-that-was mutated into that big tub of jockstraps, ink and poop that we all knew and loved. Against all odds ((and possibly having something to do with his later, blunderbuss approach to recording)) GG left a number of legitimately decent records in his wake ((though none of them were found wearing Brian Action’s ex-girlfriend’s skirt when they died)); on this picture disc, ol’ Vomitose is teamed up with Antiseen, who probably deserve a medal of some sort for playing something resembling punk rock twenty or so years ago, when the world was just starting to shit its pants over grunge, and couldn’t be bothered with such downmarket drivel ((and, speaking of pants and Antiseen, i went to go see Antiseen [[“i went and seen Antiseen?” That almost sounds more correct]] in Milwaukee in 1990 or so, and i was wearing some kinda funky purple pants, and, as i am walking thru the bar, this guy in a leather jacket walking past me lowers his shoulder and bashes it into my chest, like how kids do in the hall in junior high when they want to fight. He disparagingly comments “nice pants” my way. Because, you know, there were SOOOOO many Antiseen fans in Milwaukee in 1990, it was important to keep the poseurs with the weird pants ostracized. LET’S FIGHT ABOUT MY PANTS! FIGHT ME JIMMY! FIGHT ME JIMMY!)). The result is a whole bunch of songs about murder and ruckus, with GG howling his usual vocal depredations over Antiseen’s fuzzed-up yokel punk crunch. This doesn’t strike me as quite the same unholy caliber as “Brutality and Bloodshed For All,” which is probably his best later work, i guess ((i’m actually still partial to the seven-inch records released in 1982 and 1983, myself —”Gimme Some Head” “You Hate Me & I Hate You” “No Rules” and that “Hard Candy Cock” ep)), but if you’re of a receptive temperament, maybe you should buy this and figure out if you miss him yet or not. Probably interesting from a cultural standpoint just to hear GG go all Rollins on “War in My Head” and “I Hate People,” but this is pretty high up the list of Picture Discs Displaying Pictures of Guys Of Which I Really Have No Need To See Further Pictures as well. BEST SONG: “Kill The Police” BEST SONG TITLE: “Rape, Torture, Terminate and Fuck” FANTASTIC AMAZING TRIVIA FACT: I almost but not quite met GG—he walked past me at a Ramones/Iggy Pop show in Chicago, when i was leaning against the bar drinking abandoned buckets of beer. It took me a few seconds to realize whom he was; by the time i realized it was GG and i went to follow him, i’d lost him in the crowd. –norb (Rusty Knuckles)


GESTAPO KHAZI:
Escalators: 7"
The Gun Club and Flesheaters comparisons certainly apply, and like those two bands that drew from older sources of music that shaped their sound, Gestapo Khazi work a magic that makes it sound timeless. A little bit of the blues, some country, a surf guitar style, and a punk attitude, and a group of guys who craft solid songs. “Escalator” cruises at a nice pace. The perfect song for a late summer, hotter-than-hell afternoon. The vocals are perfect: a back and forth between agitation and resignation. If noir films used rock as soundtracks, this song would be a perfect choice. “The Atomic Kind” picks up the pace considerably with a bass that weaves in and out of jittery guitars, and before you know it, the song is over. –Matt Average (Eradicator, organic_core@yahoo.com)


GENTLEMAN JESSE AND HIS MEN:
: 7"
While these two tracks aren’t Nerves-level power pop gems like the Introducing LP, they are still banging power pop numbers. They haven’t got me anything less than excited for their upcoming LP, and I just ordered their new single on Hozac. Totally worth it. –Vincent Battilana (Douchemaster, no address listed)


GENIUS PARTY:
Uncomplicated Songs about Complicated Issues: CD
This is amazing! How is there a band this good from my home state that I’ve never heard of? Holy crap! I never get this excited about new music anymore! This is like when I first heard The Ergs! a couple years ago, but better because now I get to be the first one to tell everybody else about this badass new band. Uncomplicated Songs is a CD of fast, fun, party punk played by grownups who know what they are doing. The lyrics are smart and dead-on relatable for twenty-somethings. What an excellent surprise for this month! Highly recommended! –Lauren Trout (Self-released, DFW.com/geniusparty)


GARY WAR:
Police Water: CDEP
Spacey, ambient synth-wave stuff with funky beats and buried vocals that sound like they were recorded by fish. Somehow it works. –jimmy (sacredbonesrecords.com)


FUN:
New 13: CD
It appears that noise rock is alive and well, and this Finnish band has been cranking out the chaos for a decade or so. Falling more on the artier side than more “rock” side of the fence, they boast much less pop sensibility than, say, The Jesus Lizard and opt instead to exponentially up the rhythmic skronk while showing enough restraint to keep things from degenerating into a wall of sonic turd-slinging. One would be tested to find much here that can be whistled while working, but that ain’t really the point, is it? –jimmy (Cut Half, no address listed)


FULL OF FANCY:
Liquid Nature + The Singles: CD
This is awesome. It’s like a happy frappe of jangle, pop punk, surf, and just a hint of garage and ‘90s indie. I want to say Vivian Girls by way of the Ergs for the sake of a quick and dirty comparison. Having missed the band’s first full length, Sweet Baby Jesus, this CD is great for playing catch-up, since it includes all their vinyl-only singles appended onto the end of the sophomore eleven-track LP. The LP is solid pop punk across the board (dig the “Then He Kissed” me reference on “Dumb Is Forever”), only breaking the two and a half minute mark once. The singles are a great but more eclectic lot. For instance the Art Of The Underground single has an great harmonized cover of the Descendents’ “Marriage,” while the song “Friends Forever Tour” off the Every Wall in the Parlor 7” sound like the kind of melancholy dream pop that would be at home on Slumberland. I highly recommend picking this up for the good kind of pop fix. –Adrian (Don Giovanni)


FUCK KNIGHTS:
Recorded by Gary Burger from the Monks: CDEP
As the title implies, these cats managed to wrangle the lead guitarist/vocalist of ‘60s cult legends The Monks to twiddle the knobs for ‘em. The results of their shared endeavor are four tracks of raw trash rock with ‘60s influences up the wanger, of course, and a singer who sounds like he’s in dire need of a mouthful of throat lozenges. While nothing here is earth shattering or ground breaking, the band handily does what it does and the production keeps it sounding sandblasted without having it sound like it was swathed in bubble wrap and dropped down a deep well. –jimmy (Crustacean)


FREESTONE:
Church: 7”
At this point, I would venture to guess that most hip to the whole Killed by Death punk rarities scene are well acquainted with the brilliantly dumb punk B-side here, “Bummer Bitch,” and its creatively crass chorus, “Bummer bitch, you make me sick/bummer bitch, suck my dick.” Not quite as well known, however, is that this San Francisco-based band was, in fact, not a punk band, but one more into the prog rock thang, and the A-side title track, despite some lyrics that scream to be played for your most ardent Jesus-worshippin’ relative, has more in common with Jethro Tull than the Ramones. Still, it’s not a horrible track by any stretch, and this reissue does include “Bummer Bitch” in all its obnoxious glory, so consider this essential to any short list of mandatory vinyl to pick up as soon as possible. –jimmy (Last Laugh)


FRANZ NICOLAY:
Luck and Courage: CD
Franz Nicolay is one of the best side men in music right now. At one time or another, he’s provided valuable services to a slew of my favorite bands as varied as Guignol, The Hold Steady, World/Inferno Friendship Society, and the Star Fucking Hipsters. I’ve even caught him get on stage with the Subhumans (UK) back in 2006. Having missed his earlier release Major General, it took me a bit to wrap my head around this. While filled with multiple instruments such as piano, organ, banjo, and horns, in addition to the standard drums and guitars, the musical eclecticism is subtler than in World/Inferno. Lyrically, this hues closely to the illustrative imagery and story-like snippets of the Hold Steady, but delivered my Nicolay’s much cleaner vocals. It’s as if these songs are the Greek chorus for a collection of unseen plays. This release ultimately wins me over not as a visceral rock experience, like with many of the bands he’s worked with, but as the work of a modern day storytelling minstrel, with his detailed sketches of people and places such as “This Is Not a Pipe” and “James Ensor Redeemed.” It’s like the Weakerthans by way of highly trained buskers. Definitely worth a contemplative listen. –Adrian (Team Science, teamsciencerecords@gmail.com)


FOOT OX:
OOO: 12”
Every single song on this LP sounds exactly the same. It’s like the Jenny Piccolo discography, but with folky music and a semi whiny voice that was slightly endearing during the first few listens to the A side, but which now makes me want to jump into this band’s drum kit while they’re playing and start a one man circle pit. The B side sounds just like the A side, except there’s a track with weird sound clips before the whiny-voiced dude goes straight back into it. The first time I heard this, I thought I would compare it to Andrew Jackson Jihad. I would like to apologize to the before-mentioned band for almost doing so. You guys don’t suck at all. Wish I could say the same for this LP. –Rene Navarro (Stank House)


FOGNA:
Self-titled: 7” EP
This is most definitely hardcore, but they throw in a couple of twists—they’re an Italian duo employing a drum machine, and the guitarist drenches his guitar in flanger and echo boxes so that it sounds like they borrowed the gear from early Christian Death or Part One. Nice change of pace here, and definitely worth a listen. –Jim Ruland (myspace.com/fognahc)


FLESHIES:
Brown Flag: Tape
Before even throwing this on, I can tell you this is a reissue of last year’s album on Recess; the one that’s still weird, but with a bit more of the hair metal/arena rock influence to it. I still really like it, and while it’s easy to say, “Does this really need a reissue already, let alone on cassette?” I say the world can always use more Fleshies. –joe (Small Pool/Dead Broke/People’s Republic)


FLAT BLACK ANIMAL:
Strictly Nocturnal: CD
Only four songs on a CD. Not a whole lot for me to say. It’s simply not good… at all. Don’t waste your time. On a separate and mighty unrelated note, I went to look up information about the label that put out this CD. They have a band named Radons on their label that are not Radon. It’s an unrelated band with the band members having names like Ron Radon, Don Radon, and Von Radon. If you are a huge fan of the band named Radon and not Radons with an “s”, then this is just blasphemy in its purest form. –Corinne (Fleshwave)


FINGERS, THE:
Isolation: 7” EP
The Reader’s Digest version of the story: The Fingers (not to be confused with the infamous ‘90s East L.A. band of the same name) were a band outta Pittsburgh circa 1977. Wanting to garner attention, the sent out this EP in their promo packs instead of cassettes. No one paid much attention, the vast majority of the EP’s copies were summarily lost in the void, and the band remained unknown to all but the most ardent collectors, who were more than happy to pay silly prices for copies. Brooklyn’s Last Laugh Records has decided to throw a wrench into collector profiteering by culling the three tracks from the original master and reissuing this primal Ramones-via-Detroit punk classic. Is it worth all the hoopla, you ask? Well, I personally don’t think any fuggin’ 45 is worth four grand, but they were a helluva band and I definitely hear what gets the Killed By Death crowd so worked up. I would imagine this pressing itself is limited, so you’d best hurry before you’re paying silly prices for this as well. –jimmy (Last Laugh)


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