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· 1:Razorcake #81 Now Available
· 2:#326 with Tim Brooks
· 3:Featured Record Reviews From Issue #81
· 4:#327 with Kurt Morris
· 5:#328 with Bianca Barragan and Simon Sotelo


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Hurula, Vi ar manniskorna vara foraldrar varnade oss for LP
Razorcake #81
Razorcake Ouija Slip Mat
Nights and Days in a Dark Carnival by Craven Rock
Chantey Hook, Underground 7" *Limited Color Vinyl


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Record Reviews

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HEAD ON COLLISION:
Ritual Sacrifice: CD
Speed metal owing much from predecessors like Sodom, Kreator and, yes, Slayer. If that sounds appealing, you could easily do much worse than this.  –Jimmy Alvarado (Beer City)


GUANA BATZ:
Electra Glide in Blue: CD
In addition to the obvious cycle reference, Electra Glide in Blue is a cult movie starring a pre-Baretta Robert Blake as a highway patrolman working the back roads or Arizona or someplace like that. As the lyrics to the title song hereóeasily the closest to the Cramps I think Iíve ever heard an English psychobilly band getóimply, these guys have seen the flick, which earns them some additional cool points right off the bat. The rest of this reissue (of their third? Fourth?) is a surprisingly solid bit of work thatís a more modern update of the rockabilly sound than psychobilly, which is a long-winded way of saying the Billy Fury and Buddy Holly influences are much clearer in their sound here than it would be in, say, Demented Are Goís repertoire. All told, itís a dang good listen, even if this type of stuff normally ainít yer bag.  –Jimmy Alvarado (www.cherryred.co.uk)


GSD:
Right or Wrong: CD-R
The sound on this leads me to believe it was recorded ďlive in the studioĒ at a college radio station, which is pretty fitting, ícause they sound like one of those punk bands youíd hear live on a college radio station some odd Tuesday afternoon. While their mid-tempo racket-makiní ainít particularly bad, itís just that itís not particularly memorable, either. It could totally be the recording, but either the band or the mix needed a bit more punch. –Jimmy Alvarado (imanlamb@yahoo.com)


GROUCHO MARXISTS:
Manifesto: CD
Poppy, sloppy shit that sticks to the roof of your mouth. Kind of annoying and kind of fun at the same time. By the end of the record, you need to go to the dentist because your head hurts and you realize that stomaching the Groucho Marxists is painful but worth the trouble. They do share some similarities to The Ergs! Guitar solos and basslines that walk up and down the walls that have your eyes searching for an invisible bouncing ball you will never find, which may be one of the reasons I actually made it through the entire record. I keep expecting Groucho Marxists to grow on me like pubic hair, but it hasnít happened yet. The New Jersey bunch leaves me wanting more with a little hope that their lyrics will improve and their next effort will be so catchy it will give me herpes forever, again. And I donít care who you are, songs about giving or receiving oral sex are almost always never amusing. Unless itís about pubic hair or sexually transmitted diseases or it ends really, really badly like somebody farts or pees.  –Gabe Rock (Wrapped In Plastic, no address)


HAMMERLOCK:
Barefoot & Pregnant: CD
This enhanced re-release of the now classic 2000 album by San Francisco Confederacy of Scum band Hammerlock includes three bonus tracks and a hilarious music video. The Bay Area may seem like an unlikely place for this un-PC, country punk band to emerge from, but Hammerlock has stood the test of time and this album is even better than Iíd remembered. Barefoot & Pregnant brings back memories of when C.O.S. bands like Hellstomper, Cocknoose, and Limecell were churning out release after release in rapid-fire succession. Of all of the C.O.S. bands, none embraced hick humor more than Hammerlock. You can almost smell mud and manure from the CD player as this motherfucker spins. –Art Ettinger (Steel Cage)


HANNA HIRSCH / YOUNG FIT MALES:
Split: 7" EP
Young Fit Males: Oh, Sweden, land of fancy packaging and a currency that is whipping the American dollar into peso-like proportions. As Americaís empire quickly returns to the dust of broken promises on the fault lines of colonialism-style hubris, Swedenís been busy backing their cultural arts and thus come the dividends. Thereís some connection between Young Fit Males, Fy Fan, and Svartenbrandt, but Iím not sure what it is. What I do know is that these folks play spot-on melodic hardcore. Not the assy stuff; muscular music that could be reinterpreted as either folk or power pop in other hands; just nice, meaty charges-ahead with Wipers-like guitar. Hanna Hirsch: If the band goes on the life cycle of The Vicious, right when I get my level of enthusiasm to reach ďapeshit,Ē theyíll probably break upÖ. Dunno if they have, but their two songs commandeer the bouncy ball goodness of Knugen Faller: one foot in good 1977, one cable plugged into the not-too-distant future; connecting the icy space of early Wire to the on-the-spotness of Gorilla Angreb through the switchboard of ďman, this is good. Iím sure itís going to be a sonofabitch to find.Ē  –Todd Taylor (Self-released)


GROSS URGE:
Cat Killer: Cassette
Plodding basslines and doddering drumbeatsópossibly played simultaneously by the same guyówhile what sounds like an eleven-year-old kid yelps inanities over the top of it. Does contain the immortal line, ďI donít like to skate Ďcause it hurts when I fall.Ē Limited to fifty.  –Keith Rosson (Baby Carrots)


GRAVE MAKER:
Bury Me at Sea: CD
Well-executed modern hardcore that adds some straight-ahead rock influences. They definitely donít break the mold here. But what they do, they do well. ďCast AwayĒ and ďItís Raining Again,Ē in my opinion, are the strongest of the album.  –Matt Average (Think Fast!)


GOLDEN ERROR:
Self-titled: 12Ē EP
Ehhhh... Something about this just reeks of bullshit. Sounds like the Tyrades, which, fine, whatever. The sassy attitude and swagger seems forced. As though itís what expected, so you gotta deliver. The songs are hyper and erratic with a punk flair, but still... Itís just ehhhhh... –Matt Average (Shandi)


GOLDBLADE:
Mutiny: CD
Lyrically, this is a bit better with more pointed salvos at the power structure than I remember previous discs being, but ultimately their take on punk seems more driven by adhering to a template than really pushing forward from the starting gate, which leaves their efforts sounding a bit hollow and thin on righteous anger about what theyíre going on about. Gotta say, though, Iíve gone from dismissal with extreme prejudice to a grudging respect for íem, which means either Iím slowly softening through repeated exposure, or theyíre getting a wee bit better with each release.  –Jimmy Alvarado (Captain Oi)


GLASS AND ASHES:
Self-titled: LP
Iím not sure what the final verdict was on this band staying together or splitting up, but if they do split, this is a damn fine high note to go out on. I guess I should give another listen to the first album because I remember it being, well, nothing special. There was nothing to grab on to for me at the time. This album is different. Thereís a fair amount of the chaos and noise that I remember from the first record but itís broken up by these pissed melodic moments that I do not remember them having before. I feel like I tend to drift out a little when I listen to this but just as the record is about to fade in to the background, it kicks you in the shins with these gruff vocaled jams that are a little more pissed than a lot of their contemporaries on ole No Idea but just as catchy. Theyíre definitely a sight to see live as well. Hopefully Iíll get a chance to do that again. Plus, Mike looks a lot like Judge Reinhold and that comforts me for some reason. –Steveo (No Idea)


GIRLS, THE:
Yes No Yes No Yes No: CD
Call me old fashioned, but I miss Devo and I didnít mind Max Headroom. I understand Devoís still around, but given that their last studio record Smooth Noodle Maps (not so good) came out eighteen years ago, I think thereís room in this world for some heavy-duty Devo worship on the ground level (as opposed to the Disney level, where Devo 2.0 was Devo-endorsed kids re-recording Devo songs). Iíve always liked the icy, more evil Devo, too. I mean, Devo pretty much strip mined and devoured any chance that future synthesizer and male-fronted electronics punks could follow in their Energy Domes without being compared to themÖ And with that said, The Girls more than carry their weight in Yes No Yes No Yes No. Your individual waves of remembrance and urges to reach for Freedom of Choice may vary. Not bad at all. Funny, the last time I saw The Girls, I donít even remember seeing a synthesizer. Maybe they got one of The Epoxiesí ones at a yard sale. (Damn you for breaking up, Epoxies.)  –Todd Taylor (Dirtnap)


GIRLS OF THE GRAVITRON:
Self-titled: 7"
Three songs of shapeshifting lo-fi, acoustic-based indie pop from Tennessee. White noise and dubby sounds blanket the songs that sometimes sound too slow, sometimes too fast. Once you get past the general mindfuck, some of this is quite catchy, especially ďWhen Iím Dead.Ē Though not simpering and twee, this band would be at home on K Records in the Ď90s. Will someone please tell them that if they bring over the jug wine, Iíll provide the two-miles-under-the-earthís-crust-molten-magma diggity dank nugs, and we can get hazy together?  –CT Terry (Boom Chick)


GHUNDI:
3196: EP
At first I thought, ďThis isnít so bad. It sort of sounds like the Dead Milkmen,Ē but then the second song came on and sounded like a pit bull fucking a screaming babyís face so I turned it off. Upon my next sitting of the CD, I was quite pleased to not hate it. Half the songs were good, half the songs were not so good. But it was good enough to push me towards further investigation of the bandís album content. But because trying to read their lyrics is like looking at the clues and squares to a jigsaw puzzleófuck it, DIY. So I looked up Ghundi online because I could have sworn ďDrop the Dead JunkieĒ was a cover, but I guess itís not. Instead, I came across them on Youtube and was excited to see that the four-piece is from Ireland, yet disappointed to discover they are not high school kids.  –Gabe Rock (Fake Your Own Death)


GHOST BUFFALO:
The Magician: CD
Fairly strong indie pop from members of Planes Mistaken For Stars. The production is way too slick but the songs are pretty good. Sounds like a band that might have been on a bill with Velocity Girl or some Slumberland band in the mid Ď90s. At times, this record even veers into Creation or Slampt territory, although with slick rather than four-track recording. Good vocals and good instrumentation. I just wish it had a little more grit in the sound. Seems like the type of thing that might grow on a person after multiple listens. –Mike Frame (Suburban Home)


GET BENT:
Demo 2008: CD-R
Okay, I totally concede that these guys are pretty danged good at the whole Leatherface via Hot Water Music thang. The songs are well-structured and catchy enough, they play with enough spirit so as not to sound like theyíre going through the motions, and the post-DŁ noodly guitar bits would make Stubbs proud. Sometimes, however, it just comes down to personal preferences and this just ainít enough my ball of earwax to go completely gaga over it.  –Jimmy Alvarado (Get Bent)


GENTLEMAN JESSE:
Self-titled: CD
Thereís a lot to say for records that smolder all the way through. Hip sways. Deep nods, slight sneers, the feeling that you want to snap your fingers, even though you rarely think of such things. Gentleman Jesse isnít blathering, blistering, or putting the listenerís face up to a belt sander. Nor is the trio powdering up diphenhydramine hydrochloride and blowing clouds of it to the audience. This is no snooze-fest. They take a route thatís much more perilous, where each instrument has to take its turn being load bearing so the songs donít buckle from being constructed by fluff or effects pedals. And when itís an instrumentís time to shine; bright tones, crisp lines, decipherable lyrics, and more than just a little bit of dazzle all the way through. It takes me back to bands like Eater and The Saints; bands that didnít quite fit into the ďnatural order of thingsĒ when they were around, but their audio legacies are undeniable. The impeccable pacing also heavily reminds me of The Exploding Hearts, but in more of a Merseybeat, instead of Elvis Costello-ish, way. I hate hearing this record end. Fantastic. –Todd Taylor (Douchemaster)


GASLIGHT ANTHEM, THE:
SeŮor and the Queen: CDEP
Here comes my poorest and undoubtedly least understandable simile for this issue, but Iím standing by it: the Gaslight Anthem sound like what I would imagine a genetic recombination of R.E.M. and the Bouncing Souls to sound like. This is one of those records on which even the music sounds like itís in a thoughtful and introspective mood. This would be a great record for driving around town while wistful and vaguely dissatisfied with things. Rocks well, but provokes inward musings at the same time. I like it a bit more every time I hear it. –The Lord Kveldulfr (Sabot Productions)


FOREVER NIGHT:
Playing Dead: CD-R
Donít play dead. Just get it over with and die already. –Dave Disorder (Self-released, playingdead138netscape.net)


FIX MY HEAD:
Self-titled: 7Ē EP
A nice bit of thrashiní put down here by these Oakland natives. The A side opens up with two slower, heavy tempoed tunes and from there they let loose with the thrash; not as fast as some, but more than intense enough to make it worth your while. –Jimmy Alvarado (Vinyl Addict)


FEAR OF LIPSTICK:
Self-titled:
Pretty much equal parts Ď90s Lookout and, well, Ramones, Fear of Lipstickís follow-up to their first 7Ē on Itís Alive is a slightly different affair in that it forgoes the by-the-numbers pop punk of their debut by incorporating a ďdarkerĒ feel reminiscent of Disconnected or Last Race-era Stiv Bators. Hardly a mindblow, but a nice progression nonetheless –Dave Williams (Fucking Scam, no address)


FEAR OF LIPSTICK:
Indie Band: CD-R EP
Never had heard of this band, but when they played the first night of Insubordination Fest 2008, I was convinced. Four tunes, all clever, all rocking. I bet these guys drink Molson Golden. An honest brew makes its own friends, and an honest band like Fear Of Lipstick does not disappoint. Looking to hear more from these guys soon.  –Sean Koepenick (Itís Alive)


F.P.O.:
You Donít Know What Human Is: LP
Itís not every day a hardcore band from Macedonia pops up. These guys play some decent Y2K thrash. I think two or three song seven inches would be more effective. As an LP, everything here starts to sound the same, and thereís not a whole lot of ďoomphĒ to keep you interested the whole way through. The vocals have zero character. Just shout, shout, shout, with no real sense of emotion. This record isnít horrible. Itís just okay. –Matt Average (Third Party, www.thirdxparty.com)


EVERYTHING MUST GO:
Sonic Pornography: CD
I donít know if everything must go, but one thing that really needs to go is wishy-washy Dead Boys rehash bands. –Ty Stranglehold (Calendar Of Death)


ESTRANGED, THE:
ďEntrancedĒ b/w ďVilifiedĒ: 7"
I know Iím repeating myself, but if The Estranged hadnít heard of Articles Of Faith prior to recording, Iíll boil my shoes, eat them, and floss with the laces. The A-side track is the fastest and most to-the-point Iíve heard from them, giving the most evidence of their pedigree in previous hardcore bands. The B-side is, by a small degree, more rough and loose than whatís on their excellent debut full-length, Static Thoughts. The Estranged walk a tightrope expertly; they retain their icy structures and foreboding qualities, while locking into a catchy, pocketed grooves. That balance separates them far above the glut of standard, more predictable fare. –Todd Taylor (DeadIdeas)


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