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 #82 Now Available | Baby J, (Can Of Beans, Stoned At Heart)
· 2:#336 with Marty Ploy
· 3:#335 with Bryan Static
· 4:Punk Parenthood for the Sleep Deprived 5
· 5:Interview with Dave of Factory Records Store


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


Big Crux, Ponchito LP
Razorcake #82
Hurula, Vi ar manniskorna vara foraldrar varnade oss for LP
Razorcake #81
Razorcake Ouija Slip Mat


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

DEAD ON, THE:
Self-titled: CD
The Dead On are a better band than my honest review would give them credit for. The more I listened, the more I realized that this band would one day make their mark, or money, by selling a song to MTV to be used on the credits of a reality show about a small town _______________ moving to the big city of _______________to make it as a __________________. The show’s finale ends as the music begins softly and, in tears forced for the camera, _______________ and his/her ___________________ decide to part ways. The song plays.  –John Mule (Boss Tuneage)


DEAD MECHANICAL:
OK Night: LP
Dead Mechanical’s visual trajectory over three albums is making me consider OK Nightas the third part of a trilogy, although it may just be a cluster with more to come. Their first album, Medium Noisefeatures man without two-thirds of a face on the front and a photo of a weathered thrift store window filled with shoes and a framed picture of Baltimore Colts quarterback Johnny Unitas. Invisibility. Location. Found objects. Reaction. Their second album, Rhythm Addicts is pure font—tracking, kerning, leading, proportion—letters manipulated in graphic design. Control. Detail. Manipulation of basic building blocks for reevaluation and reinterpretation. OK Night’s artwork is all hand-rendered and handwritten; pastelly mountain with triangles and shapes implying buildings. Softer. Personal without explicit personal narrative. The more frequent use of “You” vs. the use of “Them.” Wobbly. Fanciful. Anecdotal. For anthems, I reach for Addict Rhythms. For short stories, I reach for Medium Noise. Curiously, OK Night fits in the middle. It’s less instantly hooky, but it has that hypnotic, crunchy shimmer and sway of bands like Seaweed and Superchunk. It’s more one-on-one. More artful, but not in a shitty way that serves as a divorce from their earlier, more explicit material. Totally worth soaking in. Dismiss as pop punk at the risk of overlooking an excellent band.  –Todd Taylor (Toxicpoprecords.com)


DARK COUNTRY:
Self-titled: LP
I’d be willing to bet that the vocalist of this band loves Black Sabbath. The Sabbath worship is something that is immediately evident once the vocals kick in on this eight-song LP. Sometimes, at their most exciting moments, this reminds me of a metal-tinged skate punk band, not unlike S.T.R.E.E.T.S. or RKL. Other times, this band has more of a classic rock/metal vibe going on, bringing to mind contemporary stoner/rock bands like The Sword if they decided to go into the studio after a weekend long speed bender.  –Mark Twistworthy (Dark Country, darkcountry.bandcamp.com)


DANCER:
Self-titled: 7”
Three songs of sloppy, lo-fi power pop with clean guitars, a glam stomp to the drums, and a sullen, loose-jawed vocalist. “My Car Drives Fast” pulls out all the stops, with back-up singers, a guitar solo, and a couple extra parts. The two songs on the flip are hooky, but breeze by faster. I’d love to see these guys open for the Del Fuegos.  –Chris Terry (guitarsandbongos.com)


DALAPLAN:
Redan Död: 7”
Sixties-meet-eighties pop on the title track, with a catchy chorus and a bouncy lilt. The flip, “Siste Kvar,” is considerably darker, slower, and more brooding. Broader range showcased here than on previous singles, but no less interesting.  –Jimmy Alvarado (Gaphals, gaphals.se)


CY BARKLEY AND THE WAY OUTSIDERS:
Mutability: LP
This record was a pleasant surprise this month. The bright, cubist cover made me feel like there was going to be some fun tracks on this record. Right off the bat, this is a party record. The opening track, “Violation,” has an angular post-punk feel to it; think Jay Reatard meets Pylon. The rest of the record doesn’t let up and gets really spazzy and nervous-sounding. These guys have a sound that I bet sounds even better live and, judging by the photo inside, this is a band you want to drink beers with. So let’s recap: You’re going to have a party, you’re going to play Mutability, and everyone is going to dance their ass off.  –Ryan Nichols (Southpaw, southpaw-records.com)


CUT UP, THE:
The Gateway Drug: CDEP
Five songs in seventeen minutes and the whole time I kept thinking, “This sounds like Q And Not U’s first album, No Kill No Beep Beep,with only one singer.” The more I listened to it, the more I thought about how it also sounded like Moving Units and an obscure early 2000s Wisconsin band, Proudentall. If you like any of those acts, or if you feel as though indie rock peaked in 2001, then this is the band for you. It’s not bad, but I’ve got plenty of other music in my collection that sounds similar and I don’t really need any more.  –Kurt Morris (thecutup.bandcamp.com)


CRUSADES:
Perhaps You Deliver This Judgment with Greater Fear Than I Receive It: LP
The shorthand for Crusades is deceptive because it runs the risk of sounding hokey: melodic occult punk. It could be such a cheese factory, a Lord of the Ringsmeets Strange Brew mess. It’s the opposite—it’s both musically and textually powerful. First the music. Crusades are a chainmail fist. The power comes from a tense grip of four musicians playing as a single-focus one. As a casting-off point, think Today’s Empires Tomorrow’s Ashes-era Propagandhi (Pro-pagan-dhi). Tinges of sharp metal at the edges. Quick punk thrusts. That’s sonically laid atop ‘90s hardcore like a semi-permeable loam that seeps in and adds textural smoke. There are guitar flourishes and drum fills, but they’re filigrees and accents, not the spotlight. Side one begins with a single-voiced recitation and ends with a piano solo. Lyrically, instead of international or scene politics, Ottawa’s Crusades explore and exalt the inner logic of “light” and “delights” turned inside out and crosses turned upside down. Invited blindness. Sweet grief. Giving into to a higher power to spin the wheel of fate. Eyes adjusted to darkness. Wings spreading. Living flames. Life without fear of being hunted. Inviting terrestrial death. “Unholy craft.” Christianity as a fable. After being burned at the stake, unrepentant, what happens to the ash? It flits into the sky, becomes weather, rains down, seeps into the soil, and germinates once again. Perhaps… reads and sounds like an epic dis-illuminated manuscript. I’ve been listening to this record compulsively. Highest recommendation.  –Todd Taylor (No Idea #333 by accident? Methinks not.)


CREEPING IVIES:
Stay Wild: LP
This two-piece from Scotland is doing the “wild rock’n’roll thing.” I hate to say it, but it seems like they’re just trying too hard. I have this prejudice about big beat because I worry people learn the beat, get some leopard print and talk about seedy-sounding things, and feel they’ve got it. This record just never takes off for me. The whole thing rides one pace and never screams. The opening song, “Black Cat,” is the best song and it’s a downhill snooze from there. I bet they’re better live.  –Billups Allen (Dead Beat)


CRAZY SQUEEZE, THE:
“Younger Girls” b/w “Terminal Love”: 7”
Not so much a bee-zerk version of Difford and Tilbrook as a Hollywood version of the Hollywood Brats, the Crazy Squeeze emit an A-side that sounds like a track off the third Boys album, and a B-side that actually IS a track off the third Boys album ((featuring Boy Honest John Plain on guitar, no less)). I initially thought “Terminal Love” sounded so indiscernible from the original as to not be worth bothering with, but then I noticed they updated the list of pseudo-solemnly intoned dead punker names in the break, which justifies this record’s existence entirely. Buy this and a cute hat!BEST SONG: “Terminal Love” BEST SONG TITLE: “Terminal Love”. FANTASTIC AMAZING TRIVIA FACT: I have just now decided that no male is sexy who poses with a bottle of Stella Artois.  –Reyan Ali (Rapid Pulse / No Front Teeth)


COOL PISS:
Cool As Piss: Cassette
Cool Piss is a great new-ish band from Houston that includes ex-members of The Cutters and White Crime, among others. Musically, imagine a more straightforward version of the Spits if the Spits paid more attention to tuneful hooks in their songs. It’s fucking great! There are seven songs, and comes with a digital download if that’s your preference. Can’t wait to hear more from these guys.  –Mark Twistworthy (Bummer Tapes, bummertapes.bandcamp.com)


CONTROL:
Self-titled: CD
Control play dark wave with croony vocals. They’re from the Quad Cities, on the border of Iowa and Illinois. I picture them as the guys in town who always have a party after hipster dance night. Some of their songs are slow and draggy, but at their best, like on “Hardwired,” they sound like “Personal Jesus” by Depeche Mode and make me want to wear a leather cowboy hat and trenchcoat on the dancefloor.  –Chris Terry (controlxoxo.com)


CONCRETE CROSS:
Self-titled: LP
Concrete Cross is ripping hardcore punk played by a crew of dudes who have been doing it for years. I was first introduced to vocalist Artie Philie’s distinctive growl through his stint in Indecision, and I was stoked to hear him on this. The band also features Anthony Corallo, currently of Sheer Terror, on drums, and guitarist Tom Clavin. Concrete Cross’s songs are short, but packed with intensity. With tight, churning riffs and ripping leads, there’s a lot going on in terms of technicality and musicianship in each song, keeping them interesting after repeated listens. Easily one of the best LPs I’ve heard this year.  –Paul J. Comeau (Man In Decline)


COMMON ENEMY:
Brain Dead: 7”
Whoa. Now, I could be mistaken, but I’m pretty sure Common Enemy have been a band for almost fifteen years. In fact, back when I still lived with my parents (twelve years ago), I recall receiving and reviewing a Common Enemy CD for the now-defunct World Wide Punk website. Picking through my foggy brain, an opening track called “G-String Diva” comes to mind, and a quick ‘net search shows that I haven’t completely ruined my mind thus far. Either way, Brain Dead shows that they’re alive and well, still tearing up the East Coast with their blend of melodic—yet dirty and drunk—hardcore. Think a less-metal Dayglo Abortions. Or, in contrast to that previous comparison, a more sober and distorted Quincy Punx. Punk, American style. Glad to see these dudes are still at it.  –Steve Adamyk (Overdose On Records / Horror Business / S.B.S., fuckyeahsbsrecords.com)


COLTRANES, THE:
Never Sleep Again / Man with the Hat: LP
The Coltranes are a dirgey, heavy punk band from California who defy any easy classification or label. Some people who are fans of “Mysterious Guy Hardcore” (the absolute most ridiculous music genre, by the way) might get into parts of this, but at other times this is so catchy that it would certainly bum that crowd out. There is something about the guitar tone in some of these songs that reminds me of old death rock bands like 45 Grave or Christian Death. The inconsistency here is a plus as it’s weird and varied enough to keep my interest throughout multiple listens.  –Mark Twistworthy (Hip Kid, hipkidrecords.storenvy.com)


CLOSET CASE:
It Doesn’t Get Better: 7”
I love bands from areas that are a little isolated because even though we have the internet and things in punk (and especially hardcore) are becoming more homogenous and generic, there are small spots where kids don’t try to cop “NYHC,” “Swedish d beat,” or whatever genre they need to impress their friends with at the moment. Unfortunately, the project band from the big city will always get the appeal, but it’s these guys we should really be paying attention to. Closet Case are nothing but a hardcore band, but their range isn’t focused on a single aspect of the genre. I get the impression that modern bands like Skrapyard or Vile Gash heavily influence the band, but they aren’t a direct copy of the Midwestern scene. The vocals are rooted in some approximation of ‘80s Finnish style mixed with the snarl and grit of Springa. The mosh parts sound vintage Boston, but the parts that rage have more in common with Gloom Records, switching off between Cut The Shit and Devoid Of Faith. I wish the record had come with lyrics because after looking this band up, I was surprised to learn that their lyrics are about dealing with sexuality and one’s perception of oneself because of it, which is very uncommon for the styles they put upfront but a welcome change. I would like to see this band develop because I feel like this record is good but is the beginning of something great. Unfortunately, they already broke up.  –Ian Wise (Going Underground)


CLASSHOLE:
Demos: Cassette
Eleven totally pissed-off tracks from this New Orleans-based combo. This totally reminds me of OG Negative Approach in its consistent anger but not in a derivative way. This is bruised-knuckles hardcore done the way few bother with these days and I think the world is just a little better because of it. If you are a fan of unpretentious, meat and potatoes hardcore then I cannot recommend this enough. Better find it quick, as it looks like the band only made three hundred of these puppies.  –Garrett Barnwell (Self-released, fullofhate504@gmail.com)


CITYMOUSE / WEEKEND DADS:
Split: 7” EP
City Mouse: Straight-ahead pop punk fronted by someone who sings well enough that you end up wondering why she’s bothering with singing pop punk. Weekend Dads: More pop punk, maybe slightly scruffier and/or more “indie” around the edges and sporting a more pedestrian singer by comparison. Decent songs all around, but nothing really dug its hooks into the noggin once it stopped spinning.  –Jimmy Alvarado (It’s Alive)


CHELSEA WOLFE:
Pain Is Beauty: CD/LP
Although I’ve enjoyed Low, the Duluth, Minnesota, band, for much of their career, there is something about their first release, I Could Live in Hope, with its bleak and surreal nature, which has always endeared it to me. It’s rare that I find an artist who can remind me of the barren, snow-covered fields of Indiana (where I grew up) in the winter. Surprisingly, though, I found that still, heartfelt sound from a Californian, Chelsea Wolfe. I learned of Wolfe from her collaboration with Russian Circles on their latest album, Memorial. Unfortunately, much of the Low-reminiscent sound starts to disappear after the first few songs on the album. It’s dark, but not entirely sparse and simplistic in its delivery. Afterward, the material tends to move into songs more reminiscent of Portishead or Björk, especially in the vocals. Thankfully, I like those acts, but it’s disappointing to hear it deviate from the starkness that made the first few tracks so compelling and strong. It’s those particular songs that also might help explain why Wolfe appeals to fans of doom metal, as the feel is similar, just softer. Pain Is Beauty is still a strong album, however, it seems as Wolfe hasn’t decided entirely which direction she wants to move in. Hopefully the next album will reveal a more cohesive sound.  –Kurt Morris (Sargent House, sargenthouse.com)


CHEAP TIME:
“Goodbye Age” b/w “Soon Over Soon”: 7”
I like Cheap Time because their songs are usually just them beating on the same note for a minute or two, and that’s the sign of a true gentleman. I think I slightly prefer the B-side to the A-side here because it has more reverb, even though it has longer stretches where they’re not playing the same note over and over. STOP LOOKING FOR KEENER INSIGHT! This should do just fine. BEST SONG: “Soon Over Soon.” BEST SONG TITLE: “Goodbye Age.” FANTASTIC AMAZING TRIVIA FACT: Jeffrey Novak of Cheap Time is the only human I know who has a connoisseur-level opinion on the aesthetics of bootleg records.  –Rev. Norb (Total Punk)


CHAIN LETTERS, THE:
“Bad Reflection” b/w “Boulevard Girls”: 7”
A-side is thick, straightforward and enjoyable she-throated punk/pop/garage/rock/roll, slightly Nikki & the Corvettes-ish, slightly Ramones-ish, perchance you know the drill. B-side seems like more of the same but knocks it out of the park with some kooky timing things during the chorus, where you think you wanna sing the damn song to yourself all day long but realize YOU CAN’T QUITE GET THE WEIRD TIMING THING RIGHT and only the Chain Letters can save you. Anyone who doesn’t respond to this Chain Letter is a dope! BEST SONG: “Boulevard Girls.” BEST SONG TITLE: “Boulevard Girls.” What the fuck is this, Exploding Hearts appreciation day? FANTASTIC AMAZING TRIVIA FACT: I think the label art was printed with an inkjet printer. What, the dot matrix printer was in the wash?  –Rev. Norb (Pogo Time, soundcloud.com/pogo-time-records)


CASKET CHRONICLE:
Self-titled: CD
Using evil as a major thematic element and a mix of hardcore and skate punk to deliver the sonic material of the record, Casket Chronicle tread similar musical ground to critical darlings Crusades. The bar set for the evil quotient is set pretty high with the black and red cover art, featuring mystic runes and a crow, but does the music hold up with the image? There are peaks and troughs, but I definitely think the music could be more evil. The record was split between a melodic singer and a harsh, screeching scream. In one of the only times that I’ll give this advice, it could have used more screaming. Grade: B-.  –Bryan Static (1332)


CARS CAN BE BLUE:
Trace the Tension: LP
Trace the Tension opens with “You Gave Me,” a saccharine love song that references Gulbuddin Hekmatyar and pizza rolls. That more or less sets the tone. Cars Can Be Blue’s thing is three-to-four-chord jangly pop juxtaposed against irreverent, sarcastic lyrics. Somehow the contrast comes off less gimmicky here than on the last album I heard from them (which brought us such classics as “Retarded Retard”). Underneath the cheekily ironic twee-ness of it all, there’s a genuine sense of aggression and anxiety. “I don’t care about your fucking mouth and all the shit that’s coming out,” Becky Brooks sings sweetly over some poppy “oh oh”s in “Battleship.” The whole aesthetic is like a louder, catchier, cruder Destroy Nate Allen, minus—very much minus—the latter’s weird slut-shaming moments. Fun and worth a listen, if not for the songs then at least for the hilariously awful voicemail samples from someone’s horrible grandma.  –Indiana Laub (Happy Happy Birthday To Me)


CABBAGE HEADS, THE:
Self-titled: 7”
I want to love this. They recorded it in one day, there’s a photo collage of them rocking out, and they tell skunky beer to fuck off in the liner notes. But the guitar tone is set to “drill” and the vocalist sounds like this: “YAH YAH YAH YAH YAHHH YAH YAH YAH.” File this under, “Fun to hang out with, hard to listen to.”  –Chris Terry (no address listed)


BUILDINGS / MADE IN CANADA:
Split: 7”
This record is an exercise in heaviness without being metal or screamy or anything like that. Buildings kick the whole thing off with an off-kilter, angular groove thing that I liked. If you’ve got to be compared in sound to a band, Drive Like Jehu and Jesus Lizard are good company. Speaking of Jesus Lizard, Made In Canada (who actually are made in France) sound like a lost B-side from David Yow and the boys. So good. This is a solid release and I’ll be planning to check out more from both bands.  –Ty Stranglehold (Exit Music)


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 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 689 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 705 706 707 708 709 710 711 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 755 756 757 758 759 760 761 762 763 764 765 766 767 768 769 770 771 772 773 774 775 776 777 778 779 780 781 782 783 784 785 786 787 788 789 790 791 792 793 794 795 796 797 798 799 800 801 802 803 804 805 806 807 808 809 810 811 812 813 814 815 816 817 818 819 820 821 822 823 824 825 826 827 828 829 830 831 832 833 834 835 836 837 838 839 840 841 842 843 844 845 846 847 848 849 850 851 852 853 854 855 856 857 858 859 860 861 862 863 864 865 866

| 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



·Featured Weekly Videos for April 7th 2013
·SPIDERS 4 EYES
·SECRET SMOKER
·Dave Strait Fest
·CHAMPION
·Five Iron Frenzy: The Rise and Fall of
·TWO TEARS
·SEVERANCE PACKAGE
·SUPERIOR UNITS


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.