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:Off With Their Heads Top Shelf Interview Podcast
· 2:D4th of July, 2014
· 3:Trials and Tribulations of a Misguided Adult
· 4:Radon Interview
· 5:Ovarian Psycos


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


Big Crux, Ponchito LP
Razorcake #82
Razorcake #81
Razorcake Ouija Slip Mat
Nights and Days in a Dark Carnival by Craven Rock


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

SAVAGE LAND:
Honor Among Thieves: 7"
Modern day Bridge Nine style hardcore that reminded me a little of the band Strife. –Donofthedead (Tension Head)


RISE UP HOWLIN WEREWOLF:
X-Mas Lights Plugged in: 7”
Aside from having an amazing name, these guys bring a kickass blend of punk rock and dirty blues to the table. The songs manage to be ragged and tough while still leaving room for melody and nuance. There’s even an anthemic quality in parts; the vocals, while stark, manage to cut through the wall of sound. –Guest Contributor (Vertical House)


REVENGINE:
Demo: CD-R
Not my cup ‘o tea commercial metal that sounds like the band Disturbed. –Donofthedead (Revengine)


RESONARS, THE:
That Evil Drone: LP
One of Tucson, Arizona’s best kept secrets, The Resonars play a style of ‘60s psychedelic pop that is reminiscent of the Beatles’ early experimental stage. The Resonars have an excellent grasp on the high-flying vocal harmony over driving guitars and slightly distorted bass. The Resonars are following up 2007’s Nonetheless Blue and appear unstoppable in their category. “No Black Clouds Float By” is an example from Drone of multiple layers of “oh” traveling up and down a melodic bass line. “No Horizon” has a catchy, Fab-Four-sounding chorus that fades into a psychedelic riff. Drone features a couple of instrumentals that are neither here nor there; but, Drone overall is an amazing album, considering that their music is technically complicated and their current output appears to be annual. The Resonars feature, and appear to be exclusively Matt Rendon from the punk rock band The Knockout Pills: a band who also worked with superior vocal harmonies in more of a Dead Boys vein. Fans of ‘60s music would do well to give the Resonars a listen. Since the band appears to be mostly Rendon with a few guests, it seems unlikely that you will see them play. But their albums are a noble homage to a specific era of psych and well done. If you think that psych can no longer be expounded on, think Resonars. –Billups Allen –Guest Contributor (Burger)


RESONARS, THE:
That Evil Drone: LP
If the past forty years didn’t happen in music, if digital didn’t 0 and 1 itself into existence, Matt Rendon would be right at home. It’s far from a diss. That Evil Drone conjures up memories of the Yardbirds, Zombies, Roky Erikson, and The Peanut Butter Conspiracy—pure ‘60s AM gold—subtle in its complexity, humble in its presentation, thickly produced. The Resonars is an odd moniker because it’s singular; just Matt in his studio, playing every instrument, recording every track, adding everything up, bringing everything down. And far from waxy idolatry, acid reflux from regurgitating semi-digested chords, or sounding like a dusty-jacketed Goodwill scratch-up, Matt has the feel of someone totally inside of songs, excited, expert, and from another era. As per my character, my favorite tracks are the fastest ones. “Black Breath” could have easily been placed into any of Matt’s former band, the Knockout Pills, albums. This is his fifth release as The Resonars. –Todd Taylor (Burger)


REPORT SUSPICIOUS ACTIVITY :
Destroy All Evidence: CD
Blistering return from these punk rock veterans, now with added firepower from Erik Denno (ex-Kerosene 454). This is a varied release, with acoustic interludes tempering the harsher passages. Bondi and Robbins trade off vocals and songwriting efforts, and the end results are stellar. And if you haven’t ever heard Zentek play drums—you’re in for a treat. The man kicks serious ass on the skins. “Bush Is Brezhnev” is definitely the most rocking Bondi composition here. ‘The Loyal Opposition” is the best Robbins pen to paper on this one. But all the songs are vicious here; it just depends what mind frame you are in. When your eardrums have receded into your skull, play “Blue Fade Grey,” a mellow tune from Robbins that will make you think as it lulls you to sleep. –Sean Koepenick (Alternative Tentacles)


REALICIDE / CAPITAL HEMORRHAGE:
Split: 7”
This split pairs up two seriously brutal, inventive bands. Both throw a noisy, industrial wrench into their scream-filled hardcore machines. Neither band is very accessible. Both appear to be in the first wave of an as of yet unlabelled subgenre. I could feasibly hear this blaring at some dance club, but I can’t imagine seeing it performed on stage at a bar. The experience of listening to these bands is kind of like tasting an exotic, kind of gross dessert: it’s nothing I’d hunt for intentionally, but I have to admit that it was a unique experience. –Art Ettinger (Realicide Youth/Outfallchannel)


RAZOR BOIS:
Self-titled: CD
Very good oi from Russia with great lyrics and a really tight sound. While the music itself isn’t that surprising, the approach is, and it really brings the album to life. Original cover art, a worthy cause, and a very surprising final track make this a must have for fans of street punk that colors outside the lines. –Rene Navarro (Boycott the Fencewalkers!, daddydamage@gmail.com)


RATS, THE:
Self-titled: LP
Much light has been shed on The Rats since the Unknown Passage: The Dead Moon Story. For fans of garage and punk music, the footage of The Rats is the highlight of the film. Fred Cole has been outside the music business, playing for many years. While his playing has spanned a Spinal Tap range of styles, his DIY ethic is impressive. The Rats is his most punk rock outing from the early ‘80s. This re-issue of the first album proves their relevance. The Rats’ dry, lo-fi recordings and repetitive, driving drumming is similar in style to The Urinals. The Rats lyrics are perfect trash melodic: simple vocal melodies with a high-pitched yell for backups. Simpler songs like “World War III” and “Teenagers” are perfect, straightforward, angst-ridden art punk songs. The song “Flash Dogs” features a punchy, Farfisa-sounding organ, giving the song a budget-rock 1960s feel. Fred Cole was in a psych pop band in the ‘60s called The Lollypop Shoppe. This sparse brand of ‘60s influence is most prevalent in the vocal melodies. Sloppy, drum-driven ‘80s punk is always appreciated, and The Rats do not disappoint. This album, along with a recent collection of songs by Florida’s The Eat, proves that there are plenty of forgotten punk bands to unearth. –Guest Contributor (Mississippi)


PUSH-PULL / PRIZZY PRIZZY PLEASE:
PPPPPEP: Split 7”
Prizzy Prizzy Please is a strange but cool mix of synth, peppy drums, fuzz bass, and surprising sax—maybe even accordion or something else weird in there. Vocals are speedy and gruff then pop up to high pitches, too. For a split second, I thought of the noodling of Joe Satriani. No shit. It’s fun but a little too produced for me. Could be more dirty. Gotta have some mistakes in there to keep it exciting. Push-Pull have the same strange effect on me—not as fast but a weird mix of produced electronics, slap fuzzy bass, some jazz prog rock noodling—I swear I heard Dinosaur Jr. on this side. If you are in the mood for all this, you’ll be thrilled. –Speedway Randy (Joyful Noise)


POINT JUNCTURE WA:
Heart to Elk: CD
How this came to Razorcake, I’m not sure. This sounds very coffee shop to me. I mean that it’s something that one of your local baristas would probably enjoy, but it’s not anything that would scare off the morning rush who are there only to get their coffee (or whatever) on the way to the office. It’s kinda drone-y and ambient indie rock while not forgetting to have some aim at pop. Nothing on here gets out of control, but nothing gets too accessible, either. –Vincent Battilana (Self-released)


PLATES:
The Garth Butcher: 7” EP
Plates, by way of Buffalo, NY provide us with three songs on this here 7” titled The Garth Butcher EP (in an earlier incarnation, the band apparently went by the moniker Garth Butcher, named after a retired professional hockey player), released on Feral Kid Records. Side one’s track, “Sentimental Jenny Jones Fodder Has Been Around for Fucking Ever,” has a taut, tense feel to it, observing the quiet/loud sensibilities of big fuzz forebears Dinosaur Jr and Sonic Youth, though here like a heavier bit of shoegaze, not quite as heavy as say, Tad or the Melvins but fuzzy, heavy shoegaze nonetheless. Second side takes a dip, in my opinion. “Pop Country Blowjobs” with its hollow drumming and “It’s all Billy Joel to me, motherfucker” chorus could have probably been left off of the record and no one would have missed it. Things pick up a little with the next song, “Romanian Rich,” which, despite its bleating vocals, brings to mind Poison Idea, ‘80s hardcore where the rock and roll is still evident. I’d like to hear more “Sentimental Jenny Jones…” and less punk-by-numbers, and I think Plates has it in them to do it. –Jeff (Feral Kid)


PIST, THE:
Input Equals Output Albums 1 & 2: LP
Double, but separately packaged and sold, set of material from the long gone, late, great Pist. Essentially, this is their discography of EPs, splits, comp tracks, demos, and live recordings from 1993 to 1996 (Ideas Are Bulletproof is reissued now as well). I remember seeing these guys open for Rorschach at Your Place Too in Oakland in 1993. A friend and I were totally surprised to hear a band like this at that time. When just about everyone else was delving into metal, or emo, or limp pop, these guys were playing pure punk, and their stage presence was honest, free of shallow posturing and played-out fashion. The music was well played, but it had this raw and gritty quality about it as well. They could thrash it out then play it slightly slower and never lose any momentum. These guys didn’t play punk to be cool, they played it because they meant it. I thought I had everything they put out, but seeing these two albums and all that is in here, there was quite a bit I was missing. Never knew they had a split with Malachi Krunch, which has the great song, “Mutual.” Then there were the comps I passed over back then; now it’s all here and easily accessible. This stuff holds up quite well twelve years later. Maybe it’s even better now than it was then. Like a fine wine. –Matt Average (Havoc)


PIST, THE:
Ideas Are Bulletproof: LP
Does The Pist still hold up in a post-Fucked Up world? Coming from someone who’s spent very little time actually listening to The Pist and has absolutely no fond memories of the ‘90s hardcore scene, I’d say this record has its moments. Angry, oi-inspired, hardcore punk that tells tales of angry, hardcore punk life. “Street punks in the city / And street punks at the show / The kids are here and the kids are pissed / Yeah, the kids are ready to go.” Yeah like gang vocals? –Daryl Gussin (Havoc)


PIRATE LOVE:
Black Vodoun Space Blues: CD
This self-described black punk band from Oslo, Norway comes correct on their debut album. Tracks range from ragged Birthday Party-influenced grooves to more surf’n’roll oriented tracks. It never falls victim to outright homage or camp; there’s an authentically dangerous vibe here. Lyrics deal with love gone murderously bad, to outright insanity. If this band was stateside, there’s no doubt that they would be huge right now. Seek this out! Evan Katz –Guest Contributor (Voodoo Rhythm)


PARTY BY THE SLICE:
Self-titled: Cassette
When Ben Crew, the singer of Minneapolis hardcore band In Defence, told me there was a war going on between those who champion pizza as the ultimate party food and those who believe tacos should truly be bestowed that honor, I didn’t entirely believe him. I didn’t understand why In Defence was so adamant about proclaiming the power of tacos. Then I got this tape. Freshly baked from the streets of Milwaukee, Party By The Slice has obviously picked its side in the pizza vs. tacos battle. Not only is this tape dripping with sizzling mozzarella and robust red sauce, the picture of the band members shows them all wearing anti-taco T-shirts. Through rough, pizza-centric thrash songs like “Zombie Food Fight,” they take a stand, really the only stand that a proud Wisconsinite could take: That pizzas beat tacos hands down every time. They had better step up the guitar solos and make sure they aren’t getting that bullshit fat-free cheese on their pies, because they’ve got a hell of a battle in front of them. –MP Johnson (Self-released)


PANGEA / HARVEST MOON SOCIETY:
Split: 7”
Pangea and Harvest Moon Society share both sides of the split, with one song by each band on both sides. Both bands share more than the sides of the record, in that both play indie folk/folk pop/folk punk and various other genre-splitting variations thereof. And though no details are included, both also seem to adhere to strict lo-fi recording techniques. I would venture that both bands recorded onto a 4-track in somebody’s living room, possibly live, as well. Pangea provides the big hit for this summer’s punk rock mix tape, with the incredibly catchy sing-a-long “Golden Arches,” with its chorus of “You are what you eat so/I ain’t no god damn golden arches,” while Harvest Moon Society brings a perhaps, slightly more mature sound on “Boat Song,” with it’s use of non-traditional (in the punk rock sense) instruments (mandolin? ukulele?) and a simple, straightforward, lazy laidback strum-a-long. While bedroom recordings are often just as ear pleasing as fancy pants studio productions and are often symbols of the artists’ labors and love for music (not to mention the whole DIY aspect), I still wouldn’t mind hearing what these songs could be if someone were willing to invest some time and money into the recording of these songs. I think what is here now could possibly represent the frame to a much larger, richer, fuller sound that maintains all of the heart displayed here. –Jeff (Stress Domain/Griznar Music)


PHENOMENAUTS, THE:
For All Mankind: CD
This CD comes in complicatedly folded cardboard sleeve that turns into a rocket ship. It’s pretty cool, but a major pain in the ass to fold back together afterwards. I recommend you slip the CD into a spare jewel case or something. There was also a cool die cut Phenomenauts pin that came with the CD. Musically, the Phenomenauts are best described as “space cadet rockabilly pop punk.” This could be a mess, except that the Phenomenauts actually write great, catchy, songs, continuing the excellence of their previous album Re-Entry. Having also seen them live several times, I can say that they are a genuinely mind blowing experience that shouldn’t be missed. This is the perfect music for cruising your ‘50s-era spaceship to the malt shop and flirting with cute aliens. Since the Groovie Ghoulies are no more (although Kepi is still going strong solo), I would say that the Phenomenauts are tied with Gogol Bordello for the best pure fun punk band around right now. –Adrian (Silver Sprocket)


PANGEA / HARVEST MOON SOCIETY:
SPLIT: 7”
Both bands are acoustic in the general Plan-It-X way, but at this point, I really can’t deal with folk punk, other than certain bands that fall under the grandfather clause (This Bike Is A Pipe Bomb, Carrie Nations, et al). Disclaimer time! If you’re still into folk punk, then you’d probably like this. If this were a cereal, it’d be Corn Flakes. –Maddy (Stress Domain/Griznar Music)


MISS, THE:
No Radio: CD
Noisy rock band mines the gray area between 100 Flowers and Jesus Lizard. Results aren’t too bad. –Jimmy Alvarado (Morphius)


MILES BETWEEN US:
self-titled: 7”
Hardcore, straight edge style. It even says so on the disc label. Straight edge… don’t you need a straight edge to chop and line up healthy gaggers of cocaine and/or speed? Hmm, I suppose not in this case. I’m guessing it means the X’s-on-your-hands, singers-pointing-to-the-sky-while-singing kind of straight edge. How silly of me to think of honkers initially. And I hope that those are tofu burgers sizzling on the barbecue grill as pictured on the other side of this disc label, because if they ain’t, some pissed-off bovines are gonna come down and violently mule-kick all your doors in until they find the offending parties… straight edge… good GAWD… –Designated Dale (Blatherskyte)


MIDNIGHT THUNDER EXPRESS :
self-titled: CD
Some very unabashed Thunders worship here. Sounds like every song could’ve made the LAMF final cut. For what they are, this ain’t too shabby. –Jimmy Alvarado (Empty)


MERMA, LA:
Saludos al Tirano: CD
Kinda weird listen here: Mexican punk rock with shades of spaghetti western music that, for some bizarre reason, reminds me of the Pogues even though they sound nothing like them. Although it was a good listen, I’ve definitely got to get more sleep. –Jimmy Alvarado (Cochebomba)


MELVINS, THE:
Hostile Ambient Takeover: CD
Jeezusss!! The fuggin’ Melvins are a bomb in the subway. Total sonic destruction, ear splitting guitars and drums to turn your brain to mush. The best thing they’ve done lately, and obliterates all the bands trying to stand in their shadow. My year-old son can’t get enough of this disc. The future looks bright. –Matt Average (Ipecac)


MDC:
Now More Than Ever: CD
I may be wrong, but I think a version of this CD was released a couple years back but it was extremely hard to get, they didn’t include “Missile Destroyed Civilization,” and the packaging was half as good. MDC are one of the undisputed progenitors of PC punk/hardcore. Looking back, they seem a little blunt – “Corporate Deathburger,” “Henry Kissmtassinger,” and their name – going mostly by Millions of Dead Cops and sometimes Millions of Damn Christians. But, it was this blunt force trauma that worked and was needed right out of the gate when Reagan was still in the White House. Absolutely to their credit, MDC were one of the first punk bands to devote almost their entire career to what may seem old hat right now but was ground breaking at the time: discussing immigrant rights, vegetarianism, the abuses of the CIA, police brutality, and the degradation of the environment, to name a few. Quite a few of the songs musically hold up, regardless if you don’t remember Kissinger being Nixon’s Secretary of State who openly proclaimed “The illegal we can do right now; the unconstitutional will take a little longer.” I think a lot of people gloss over the fact that some of the slower, acoustic, and country-tinged songs like “Skinhead” and “Chicken Squawk” are just as good, if not better from a point of view that the straight-ahead hardcore blasts, which tended to get the drums trapped at the same tempo. A welcome re-issue. –Todd Taylor (Beer City)


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 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 689 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 705 706 707 708 709 710 711 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 755 756 757 758 759 760 761 762 763 764 765 766 767 768 769 770 771 772 773 774 775 776 777 778 779 780 781 782 783 784 785 786 787 788 789 790 791 792 793 794 795 796 797 798 799 800 801 802 803 804 805 806 807 808 809 810 811 812 813 814 815 816 817 818 819 820 821 822 823 824 825 826 827 828 829 830 831 832 833 834 835 836 837 838 839 840 841 842 843 844 845 846 847 848 849 850 851 852 853 854 855 856 857 858 859 860 861 862 863 864 865 866 867 868 869 870 871 872 873 874 875 876 877 878

| 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



·In Search of Smogtown or Attack of the Retro-Metal Bands.
·QUEERWULF
·HOLY SHIT
·THRASH OHOOII / KESUMAT
·CINCH, THE
·MEDICAL TOURISTS
·SONGS FOR MOMS
·SUPERCRUISER
·TEENAGE REHAB


Razorcake Podcasts



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.