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· 3:#341 with Daryl Gussin
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Record Reviews

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SAVIORS, THE:
Ruby Gloom b/w Recipe for Disaster: 7"
The singer is a boy but looks like a girl, the first side sounds like later Replacements or the Lemonheads or something lame and late-‘80s like that, and the second side revs it up a tiny bit, like a lawnmower at a stock car race. A little tiny bit. –Cuss Baxter (Rapid Pulse)


RUFIO:
1985: CD
If this outfit beefed up the rock and cut out the friggin’ boom-tap-boom-tap monkey beats, they might end up bein’ a cool support slot for a band like All, but I don’t see it happening any time soon. That’s a damn shame. –Designated Dale (Nitro)


RUDE PRAVO:
Non Mu Pento: CD
Italian street punk that is musically reminiscent of mid-period DOA coupled with lyrics that, even the sometimes stilted English translations provided in the booklet, are quite good, tackling the Vatican, WTO protests, rock stars and the “keeping up with the Joneses” mentality, to name a few. A nice surprise here. –Jimmy Alvarado (KOB)


RED SATYRS:
Self-titled: 7"
I’m got a soft spot for non-Fonzie rock that has rockabilly twinges made by guys who don’t look like they’re modeled after Bowser from Sha Na Na. The Red Satyrs have a similar power to The Starvations and Throw Rag. The music’s swampy, twisted, and owes a bit to the Cramps. It reverbs and gets surfy wet at the edges, but at the core is undeniably fine songwriting that doesn’t rely on obvious bar-beaten-to-death chops or blurring speed. It lets the darkness, blood, and semen seep in, and before you know it, you’re the host and the infection’s spread. –Todd Taylor (THD)


ROLLING BLACKOUTS:
Add Vice: 7"
Trash punk with a singer who sounds like he’s on the verge of losing control, which is a definite plus. A double bill with these guys and the Gloryholes would be a dangerous event, indeed. Recommended. –Jimmy Alvarado (Kapow)


RAW POWER:
You Are the Victim: CD
This is Raw Power’s debut, originally released in 1983 and pretty hard to come by. I think it’s the first time on CD. Personally, it’s my favorite period of Raw Power. Couple it with Screams from the Gutter, and you’ve got yourself some grade-A hardcore listening. These Italians were and are (they’re still active and touring) part of the international hardcore scene, very much in line with, but not copying, MDC, Minor Threat, DOA, and Black Flag. This early on, their metal influences were slight-to-occasional soloing and what you have is archetypal, pissed-off, full-force, raw and perfect hardcore that bands, twenty years after, have still yet to top. Raw Power emerged at a time when hardcore was so far off the radar screen and its fans were so rabid and dedicated, that their influence was truly worldwide and soaked up in the States with relish. They had tracks on the influential BCT tapes, MRR’s Welcome to 1984 comp, and the Rat Music for Rat People comp. As a bonus, there’s live video footage, a slew of demos, interviews, poster art, and photos. If you didn’t want to spend the clink on getting the original vinyl, fear scratching it if you already own it, or want a well-packaged glimpse at some important punk roots, this is a great way to do it. –Todd Taylor (Soulforce)


RANDY:
Welfare Problems: CD
Damn, they’ve come a long way from No Carrots for the Rehabilitated ten years ago. I was worried that Sweden’s Randy would mellow off the socialist politics and full-tilt scronking off the last burner, The Human Atom Bombs. No worries there. Randy retain their uncanny ability to make what sounds like songs made in the ‘50s, gleefully scorch them on a Sonics ‘60s burner, bounce them up with ‘70s Ramones punk, harden them with a dash of ‘80s hardcore, slash and dash in some keyboards, and mix it all together in a soulful way that seems downright fun and natural. They’re also a band that’s always greater than the sum of its parts. It’s hard not to dance when they’re pointing out some serious problems to governmental structures. Thumbs up to a considerably underrated band that I’m amazed isn’t much larger. –Todd Taylor (Epitaph)


RADIO REELERS:
Rockin’ Sound: LP
The Radio Reelers are a new band that has Hector from the Weird Lovemakers in it. A couple of the other guys in Radio Reelers were also in kinda big, Bay-area punk bands, but I forgot which ones. It doesn’t matter. What matters is the music. These guys play unapologetic rock’n’roll in the same vein as the Rip-Offs, only cleaner. The songs are simple, three chord beasts, amped up to get your toes tapping. The lyrics don’t really go beyond the basic “S-H-A-K-E-I-T, Shake it,” or “You can’t be my baby if you don’t wanna rock’n’roll” or “I got it in for you (repeat 7X).” Not the deepest stuff in the world, and the more I listen to it, the more shallow it seems. But, I gotta admit, it’ll get me shaking my ass. And, for whatever reason, this record has been getting a lot of spins around my turntable lately. Some days, a simple song is all you need. –Sean Carswell (Radio Blast)


RACHEL GORDON:
The Coming of Spring: LP
...i was on the verge of refusing to review this for moral reasons (i.e., the only connection to anything vaguely "punk" here was a cover of "Hearts Will Be Broken" off the second Records record, which is really overemphasizing the "vaguely" aspect of things), but, on closer inspection, i was forced to cede Ms. Gordon the album-opening "Where Are You Tonight," an appropriately bouncy pop-rocker that would have fit in just fine in the Girli-Pop mini-revolution of '83/'84 (Nena, Tracy Ullman, Bangles... that's all i can think of... i guess that's why the revolution was so mini) and written by her bass player, Hector from the Zeros (which i'm only giving her as many Punk Points for as i gave Rank & File for the Kinman Brothers [i think that was around 0.5, and there were two of them]). Everything after that not only came perilously close to not out-rocking Josie Cotton, but also came perilously close to not out-rocking Olivia Newton-John. Xanadu-core at its finest! BEST SONG: "Where Are You Tonight" BEST SONG TITLE: "Fun at Your House" FANTASTIC AMAZING TRIVIA FACT: I already used up the Fantastic Amazing Trivia Fact about the bass player being in the Zeros, so the runner-up Fantastic Amazing Trivia Fact is that she does a serviceable cover of Badfinger's McCartney-penned "Come and Get It," and appropriately changes the gender... so now it goes "will you walk away/from a fool and her money? (FOOL AND HER MONEY!)" which is kind of cute the first time you hear it. –Rev. Norb (Sounds of Subterrania)


PUNKINARI/ LUMPEN:
Skins & Punx New Generation Vol. 3: CD
Lumpen: Staggeringly un-engaging skinhead punk. Punkinari: A little better than their disc mates here, but not much. Kinda reminds me of those bands that would make it onto ‘80s hardcore comps to give ’em an “international” flavor, but ultimately ended up being the tracks that got skipped over once the listening started. If this is the “new generation” of Italian punk, they’re in some deep doo doo over there. –Jimmy Alvarado (KOB)


PSEUDO HEROS:
Prison of Small Perception: CD
The Pseudo Heros churn out some pretty decent fare here, some of it calling to mind a heavily-peppered nod to Hüsker Dü, and that sits well with yours truly. Not to say the whole nineteen cuts here sound like the above mentioned, ‘cause they don’t. The ‘Heros have also landed over half a dozen familiar faces of punk’s past to collaborate here on some songs. Just who all did they work with, you ask? Here’s a few to wet yourself over, fanfuck: Dave Smalley (Dag Nasty, Down By Law), John Stabb (Gov. Issue), Jerry A. (Poison Idea), and Lee Dorian (Napalm Death), to name a few. You want to know the rest? Buy the fucking CD, cocko. As far as straight-up ‘Heros cuts here, my faves are “I Know What You Need” and their take on B.O.C.’s “Burnin’ for You.” Don’t be a lying fuck and say you have no idea who B.O.C. are, ‘cause I see you singing along, you Soft White Underbelly bitch of a liar. Got you. –Designated Dale (Go-Kart)


PROZACS:
Thanks for Nothing: CD
Super-poppy punk, complete with handclaps and whoa-oh-oh-ohs. Decent for that kind of stuff, just not my style. I bet they’d claim Queers, Screeching Weasel, and Ramones as strong influences. Give me a few drinks, throw me in front of a stage they were on, and I bet I’d have a good time. This CD just doesn’t do it for me though. –Megan Pants (Irresponsible)


PRIZEFIGHT:
Self-titled: CD
I want so badly to be wrong about bands, I can taste it. As soon as I saw the junior high art-project cover and the song titles that look like titles of really dripsy poems penned by Maya Angelou, I felt that sick feeling like when you find a butt hair on your toothbrush. This thing just screamed “emo” and I hadn’t even taken the CD out of the jewel case yet. But I hoped to be proven wrong. And lo and fucking behold, the first song “Happy Fun Ball” ripped out from the speakers and brought out full-blown visions of Slip-era Quicksand in my head and I got excited. The second song dipped a bit, but still sounded like a mix of Quicksand and late ‘90s Integrity. Maybe this will finally be the band to make me wrong, I thought. But no. If this CD would have been only one song long – even two – I would’ve given this an embarrassingly glowing review. But you fooled me. By song three I felt stupid and hopelessly right. I wasn’t wrong again. Fuck. Why do they continue to torture me? –aphid (Loud + Clear)


PERVERTS, THE:
In Yer Ear: CDEP
There are bands that I don’t really care for that I wish no harm. The Perverts are one such band. They’re just boring. They play bar rock with a reverby guitar and a ‘50s pop lean. Mostly, it sounds like these guys are doing chores. Not even the line, “I wanna fuck your mom but I don’t want to be your dad,” can save it. Pass. –Todd Taylor (No Address)


PEPPERMINTS, THE:
Sweet Tooth Abortion: CD
Like a rusty hanger through your earhole, The Peppermints scrape up some good damage. The lady who sings on this sounds like she’s being stabbed in a B-movie all the way through it, which I think is pretty awesome. Think of the Cows without the horns, humping to the most interesting drumming of the Screamers and then corner it while rubbing Fleshies in its face and sniffing some soiled underpants. It’s where art meets fuck meets shit feedback fest. It’s a wild ride, not so good for traffic unless you’re looking for a fight, but great for clearing out a room. Made by, I suspect, people who know how to handle their drugs. Oddly endearing. Suggested. –Todd Taylor (Pandacide)


PANTHERS:
Let’s Get Serious: CD
Arty noise rock not unlike a less technically proficient Barkmarket. –Jimmy Alvarado (Dim Mak)


PAINT IT BLACK:
CVA: CD
Although the salt is still is on my cheeks from crying about Kid Dynamite’s demise, Dr. Dan Yemin and skin punisher Mr. Dave Wagenschutz have resurrected a leaner, meaner, tougher unit, this time with Dan taking the lead vocal duties. Gone are the tuned melodies. In their place: chiseled and pissed-off songs reminiscent but not reflexive to Minor Threat, Gorilla Biscuits, and Youth of Today, seamlessly updated to stand shoulder-to-shoulder with The Panic and American Nightmare. The spine and conviction to this whole thing, I believe, is what makes it stand out. Both Dan and Dave have been around for quite a while. They are well past the time it’s acceptable to be complete burnouts with hands out for a paycheck or a windbag curmudgeons saying today’s youth don’t get it. Yet, their chops continue to be refined to harder blows and the lyrics continue to explore new realms instead of reclining into a comfy chair of complacency. –Todd Taylor (Jade Tree)


OTHERWISE:
Dark Adapted Eye: CD
I was so stoked when I got this because it looks all deathy and boss and shit with David Carson-esque typography and a photograph of some slimy tentacled thing on the cover (probably just an octopus, but it looked bad-ass). I figured I was getting the second coming of Chuck Schuldiner or something – I mean, the fucking album title is Dark Adapted Eye, right? It has to be some fucked up King Diamond / Mercyful Fate / Dimmu Borgir / Deicide shit, right? It sounds evil, it looks evil, it’s gonna be fucking evil! I popped it in at work to ward off the blandness of the fluorescent lights and settled in and prepared to be rocked. The drumbeats started off a little slow, but I figured that even the most grindy album in existence can be deceptive – deception is evil, right? Deception is cool. And then the album proper started and I wanted to cry. All those hopes. All that build-up. For another shitty fucking whimpering sniveling emo band. As a result of this miserable experience, I have come to one unshakable conclusion: Firefly Records sucks rancid ass. –Puckett (Firefly)


OSCARS, THE:
Blow Yourself Up: CDEP
The Oscars remind me of the Spits, minus the keyboards, and in the waaay, waaay back of the room, an odd, early Sonic Youth guitar. Fungus retard punk rock that takes the duct tape off the Ramones’ shoes and uses it as a plug for the holes in their blowup dolls. The Oscars are so patently bad for so many reasons, it has to be intentional, and they’re actually pretty fuckin’ good. Almost no-fi, but worth keeping an ear out for. –Todd Taylor (oscars666@hotmail)


ORPHANS, THE:
Chinatown: 7"
Two tracks of trashy rock’n’roll that sound like they just got back from a time trip to mid-‘90s San Francisco. Both tracks are plenty rockin’, but my preference is for “Moscow Massage,” the peppier of the two. –Jimmy Alvarado (Kapow)


ORPHANS, THE:
Chinatown b/w Moscow Massage: 7"
Two blood-stained cuts from the best punk band in LA currently without a label. Take the early desperation, delusion, and stripped rawness of Dangerhouse (Eyes, Bags, Weirdos, Dils) and titty twist it, so it bruises up nice, purple, and immediate. With Jenny at the vocal helm, it’s even parts of chopping you into little bits and stolen, smearing kisses. These two songs measure up to their loopdey-loop live show, which I highly recommend. The packaging is immaculate – bloody fingerprints on the dust sleeve, a red bloop on clear vinyl, and great graphics on the cover. A keeper. –Todd Taylor (Kapow)


OPERATION LATTE THUNDER / ARE YOU FUCKING SERIOUS:
The Kitchen Split: 7"
Operation Latte Thunder: A funny song title, “Point Your Compass in the Direction of Fun,” whip-smart lyrics about being in a band; “sardined in a van,” and “you can’t be homesick when the cure’s right beside you,” while referencing Lifetime all add up to a good listen. I’ve been hearing the word “screamo” a lot lately, and I’m not sure what it’s supposed to mean. If it’s a couple of dudes yelling really well, over instruments you can see chip their paint when the vinyl spins, sign me up. OLT mix shades of Guyana Punch Line, where everything’s going off, but in the same direction so it doesn’t sound like mud, along with good, old fashioned audio destruction by guys I suspect have a lot of marbles rolling around in their noggins. Are You Fucking Serious: Have the best song title this rotation: “Cows Go: Moo, Pig Go: You’re Under Arrest.” They’re blunt (SUVs, malls, cops = bad / ripping it up = good), owe a lot to GBH and a poor man’s Iron Maiden (think crusty not-metal-afraid, speedy punk), and have a good song about washing dishes, but lack the extra ooom pa pa that Operation Latte Thunder packs. –Todd Taylor (Mis En Place)


ONION FLAVORED RINGS:
Used to It: LP
I put this record on the turntable and proceeded to pogo around my too-small-to-accommodate-pogoing apartment and it was all fun and games until I crashed into my bike and woke up the neighbors. If you have a full range of motion in all four of your limbs, get this and you will most likely do the same except for the crashing part. –Not Josh –Guest Contributor (S.P.A.M.)


OCTOBER ALLIED:
Self-titled: CD
“You know that punk was dead/before the pistols fired a shot/I’m from the Eddie Cochran stock/and I just want to rock.” Where to start? Okay, so if punk’s dead why would you send this to us, a punk magazine? As for being of the Eddie Cochran stock? Well let’s see… Eddie Cochran is one of my all-time favorites. Somehow, I doubt that you ever will be. Another thing, the song that the lyric is from is nothing like Eddie, more of a bastardized (with good reason) Chuck Berry. Finally, if you want to rock, by all means, start at any time, just do so far out of earshot from me. Thanks. –Megan Pants (www.octoberallied.com)


OBSCENE GESTURE / VARANT MAJARIAN:
In: Clubbing Seals for Fun and Profit: Split CD
It’s funny what little, seemingly inconsequential things can tip the scales in a reviewer’s mind when assessing the virtues of a new recording. When I first saw the band logos – both of that “scary” lettering ilk, like they were doodled on a notebook cover by some death metal miscreant in detention one day – along with the cover illustration of some smiling little punks beating harp seals over the heads with baseball bats, the Laughable Retard alarms went off in my head. But then I noticed that the little drawings all over this thing are kind of cute in a “Maddy-esque” way and that they even included a funny little board game called the “Punk Point Game” and that sort of reminded of something Crucial Youth would’ve done back in the day. There’s obviously a sense of humor at work here and that almost always makes me less prone to attacking a band with a bag full of dull, rusty adjectives. Obscene Gesture come across like a poor man’s Chain of Strength with quasi-religious lyrics, plus they thank “God” in the credits, so I don’t think the sense of humor is theirs. It seems to be an outgrowth of the good times vitriol of Varant Majarian. Sure, it’s humor that would probably appeal to that miscreant kid doodling in detention, but hell, it’s a sense of humor nonetheless. Plus their singer sounds like a cross between Darby Crash and Jello Biafra, and you gotta like that. Two hardcore bands that don’t sound like they’re trying to sound like each other. Not bad stuff. Give yourselves a few extra punk points, boys. –aphid (Chicken Head)


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·PEOPLE AT PARTIES
·BRATS, THE
·UNIVERSE CITY #1
·VAGINASORE JR.
·MONK IN OGRE LAND #1
·MONEEN
·GORT
·BRYCE AUBREY
·ACHIEVEMENT, THE


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