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Razorcake #90
White Murder, both LPs
Treasure Fleet, The Sun Machine LP
Razorcake #89
White Murder, Form Early LP (CLEAR VINYL)


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Record Reviews

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DEMINER:
Woes and So’s: CD
Pretty generic power-pop without much power… or hooky-ness to make it pop, which doesn’t leave you with much. –megan (Johann’s Face)


DEATH BY STEREO:
Into the Valley of Death: CD
Just this past April, I found out about the aural assault that is Death By Stereo, thanks to the suggestion of long-time fan Clint Weinrich, aka, The Torrez. You see, Torrez had the pleasure of growing up next to members of this band years ago, before Death By Stereo was the full-fledged, fuck-it-up machine they are today. So when he told me that DBS “isn’t afraid of the rock,” I was instantly curious to hear and see what these guys had in store for me. What they do have is ROCK, and plenty of it, cocko! This is the type of band that wipes its ass with those “nu-metal” bands (whatever the fuck that means) like Korn, Slipknot, LinkinPark, or Limp Bizkit. That’s right, hotshot – eats them, shits them out, and wipes their ass with them. Metal with a heavy, deadly groove that’s just as deadly being punk as fuck; the way it’s supposed to be played. The way that would make a band like Motorhead or Slayer nod with approval, not because DBS sound like either one of the above-mentioned bands, but because DBS embraces metal with their own architectural thunder. Lyrics about fucked up people and fucked up things in a country we all still love to be a part of. I especially like the lyrics to “Shh, It’ll Be Our Little Secret,” a song about the exposed cover-ups regarding sex offenders within the Catholic church: “Skeletons in your closet, you’re not looking too smart/I should take your cock and shove it straight through your heart.” Hear that, Fr. Mike Baker, you fucking scumbag? And I can’t dig enough song titles like “I Wouldn’t Piss in Your Ear If Your Brain Was on Fire” or “You’re a Bullshit Salesman with a Mouthful Of Samples.” If Sharon Osbourne is half the business genius that everyone goes on about, she’d get DBS signed up to the OzzFest and watch them obliterate the other acts on tour alongside them, night after night after night. In fact, I fucking double-dog dare her if she’s reading this. Death By Stereo, dear readers – ask for them by name. –dale (Epitaph)


DEADLY SNAKES, THE:
Ode to Joy: LP
Remember when Superman went to Bizarro World and everything was the opposite of what it was on Earth? Like, Superman was a bad guy, and people would say “Goodbye” instead of “Hello?” Okay, this is kind of the Bizarro World version of the Gories: white guys from Canada who know how to play their instruments. Imagine if the Bizarro Gories got Otis Redding to write their songs for them and Phil Spector decided to produce the resulting album instead of End of the Century. This would be that album. But since that description makes no sense, I’ll say this: if you listen to this record between the first Seeds album and Exile on Main St. by the Rolling Stones, you won’t notice much of a difference. –Not Josh

 

–Guest Contributor (In The Red)


DEADLY SNAKES, THE:
Ode to Joy: CD
More bluesy rock from In The Red, this lot being a pleasant and enjoyable ride through the poppier side of the garage rock of the ‘60s, with shades of Dylan, the Kinks and labelmate Dan Melchior, and augmented with various keyboards and maybe horns, and one of the guys is named Age of Danger. What the hell kind of name is that? –Cuss Baxter (In The Red)


DEADLINE:
Back For More: CD
Not the old DC band, but rather some mighty fine pop-infused punk from a band that looks to be comprised primarily of skinheads. Their female lead singer has a great voice in a Becky Bondage kinda way, and the songs are speedy for the most part and hella catchy. –jimmy (Captain Oi)


DEAD KINGS, THE:
For All Those Hot Black Chicks: CD
Baloney Shrapnel/Scumfuck Confederacy-inspired rockin’ grime, just not as mighty as Cocknoose, who does it like it’s supposed to be done, god bless ‘em. Interestingly enough, there’s a quasi-interview snippet at the end of this disc with Beetlejuice, a wackpack regular from the Howard Stern Show. From what it says on the Dead Kings’ website, it’s from a VHS rant the band received a while back. Beet’s asked what he thinks about The Dead Kings and it’s pretty funny listening to his scatterbrained replies (as usual, if you are a regular listener of Howard’s show). It’s too bad the Kings didn’t get a VHS transfer of that rant on their disc here – it would’ve been a cool CD-ROM. Loud rocking and a great sense of humor, to boot. Check these North Carolina boys out. –dale (The Dead Kings)


DEAD BY DAWN:
Self-titled: 7"
I liked the Squeaky Fromme quote lifted from the movie Manson and the lyrics are well written, although a tad preachy; however, there’s way too much metal in the mix to suit my tastes. Next. –jimmy (www.borntodie.com)


DAMAGE DEPOSIT:
Do Damage: 7" EP
With the great cover art of bloody croquet mallets held aloft in front of the White House, you know you aren’t dealing with the Care Bears. It’s ruthless DIY thrash helmed by Felix Von Havoc (ex-Code 13, MRR columnist, owner of Havoc Records). It tackles the gamut of how video games are encroaching hardcore, to Minneapolis actively trying to shut down its all-age venues, to not wanting “to wear a mouth guard and a nut cup” while playing and getting karate chopped by a new and wacky hardcore dance. The songs are literal and explicit – they read like a well-written scene report with twenty years of reflection seeped in. The music is breakdown-heavy, tight, and straight-ahead hardcore that puts hundreds of youth crews to shame. –todd (Havoc)


D.O.A:
Hardcore '81: CD
Do you ever wonder why you were so damn angry as a teenager? Consider the popular music of the time. “Bette Davis Eyes” by Kim Carnes, “Endless Love” by Diana Ross and Lionel Richie and “Lady” by Kenny Rogers ruled the charts as the top three singles of 1981. Hearing these songs over and over is enough to make Gandhi want to give the pope a haymaker to the side of the head. It’s almost inconceivable that an album like Hardcore ‘81 could even exist in the same frame of time that pabulum like this was sucking all the air out of the world. But as anyone who likes punk rock knows, the best work is done in a vacuum, especially if that vacuum insulates you from the world of pop music. D.O.A. reflect blue collar values in both their music and their work ethic. They seemed to be on tour almost perpetually throughout the 1980s, making them one of the hardest-working and most-appreciated bands in the punk business. Hardcore '81 is evidence of this. What we've got here is fourteen punchy songs with sing-along lyrics and minimal, but never sloppy production. What else do you need? Lots of timeless faves are here, including "D.O.A.," "001 Losers Club," "Fucked Up Baby," and more. Also included on this CD is D.O.A.'s 1984 four-song E.P. Don't Turn Your Back on Desperate Times. These are four tight, angry, politically-charged anthems that absolutely deserved to see the light of day again. It's an excellent bonus to a must-have album. D.O.A. is a truly important and essential punk outfit, but they will probably never get a decades-delayed or posthumous nod of approval from the mainstream music establishment in the way that the Sex Pistols, Clash and the Ramones have. Is this a bad thing? From a fan's standpoint anyway, staying off the big shot's radar is a blessing. It means that we will never be overwhelmed with the butt-puckering wave of nausea that would come from hearing "Slumlord" or "My Old Man's a Bum" used as the musical background in a cell phone or luxury car commercial. For what it's worth, the people who matter know D.O.A. and Hardcore '81 rule all hell. – Jeff Fox –Guest Contributor (Sudden Death)


CURLEE WURLEE:
Picture disk: 7"
It’s sung by a female with a French accent, has a deep shag/ porno keyboard high in the mix, sounds like it was recorded in the ‘60s, is trippy/groovy and has a picture cartoon of a girl on a Vespa on the vinyl. Maybe if they were all naked, took the volume eleven knob off the keyboard, or perhaps, rocked, it’d be passable. In my book, it sounds like Nico fronting Simon and Garfunkle. Yerks. –todd (www.curleewurlee.de)


COUNTACH:
Huge Rock: CD
If these guys think they have friends, they are so wrong. No friend would let them commit, not only this worthless drivel to a CD, but also, c’mon – there are some people who should keep their shirts on in pictures. And this is coming from a lady who likes a keg more than a six-pack around the bellies of her men. Hairy man-tits are just a whole ‘nother ball park there, cappy. –megan (RockMafia)


CONTRACT KILLERS, THE:
Dressed to Kill: CDEP
Watch out! Comparisons to other bands that will mean nothing to most readers incoming! This sounds like a combination of Moral Crux and the Dimestore Haloes. Meaning, basic pop punk mixed with rock and roll sound, and lyrics about drinking, drinking, drinking, and girls. Catchy stuff, but with some pretty cheesy lyrics. Still, I’d check ‘em out in a basement somewhere for sure! This is Golden Grahams. Pretty good. –Maddy (International Crime)


COCAINE PIÑATA: : CD:
Rock That Shocks the Town: CD
Loud, chaotic punk rock that’s hard to compare to anyone, not because they don’t sound like anyone, but because no one has heard of all the bands they sound like. Hell, I’ll give it a try anyway. Imagine Even Worse on amphetamines – tough ass female vocals and everything sped up to the point that it’s sloppy as hell. Folks who remember and love Tucson’s The Blacks would be well-advised to check out Cocaine Piñata. –sean (Cocaine Piñata)


COBARDOS, LOS:
Hot As a Bitch on 45: 7"
Pro: this is the thickest record I think I’ve ever held, and in magenta wax to boot; free sticker; four songs of “rock and fucking roll” that sounds like the Hellacopters doing oi. Con: “Hot as a bitch”? “We’re so fucking high and crazy”? “When we come along the crowd goes raging hell”? Okay, that last one’s pretty pro, but lyrically this whole thing is so ridiculously over the rock’n’roll top that the music behind it can’t possibly live up, and it doesn’t. But, “The things went crazy and the crowd goes wild.” –Cuss Baxter (Straight Outta C-Town Muzique)


CLONE DEFECTS:
Shapes of Venus: CD
I have come to the conclusion that this disc is the work of madmen; that Timmy Vulgar howls like a cross between Darby Crash and perhaps Iggy Pop (except in his more venal moments ["Fill My Fridge"], when he sounds like a cross between Darby and Handsome Dick Manitoba); that this whole unholy consortium of brain-damaged proto-iconic protoplasmic rock iconoclasm is the sonic equivalent of one of those finger paintings made by retarded people that immediately appears to be both a work of abject genius and inarguably worthless, simultaneously. Taken in small chunks, there aren't really any completely unexpected musical moves thrown at the listener here (except for the production, which is so filled with wig-outs and left turns and monkeyshines and miscellaneous fol-de-rol that it almost brings to mind the proactive eclecticism of the Sgt. Pepper/Pet Sounds era, albeit an order of magnitude removed), it's just, in the larger picture, all the song parts are stacked, assorted, arranged and mutilated in completely unfathomable fashion, like a Lego™ tower built with the smallest blocks on the bottom and widening as it gets higher. I mean, "Ain't No New Buzz" starts with fingersnaps over an introduction not dissimilar to that of "Ghosts of Princes in Towers" by the Rich Kids, and the fingersnaps are OFF. Not off with EACH OTHER, off with THE BEAT. And YOU, the listener, will have NO idea whether or not the off-time fingersnaps are a work of demented, evil genius, or merely the product of completely incompetent fingersnappers. Overgrown juvenile delinquents who were too rock-damaged to know that they weren't supposed to like Guided By Voices peeling wheelies across rockdom's brain, or just, like, pro wrestlers trying to sound like the Wipers in a smash-up derby? My stodgiest analysis yields few results! AMERICA TAPS OUT IN SURRENDER! TIMMY VULGAR IS THE HARDEST ROCKING CLINT HOWARD STUNT DOUBLE IN NORTH AMERICA! One can't help but wonder if this is what Flipper would have sounded like had they been a product of the contemporary Detroit scene. Can't one? BEST SONG: "I Rock I Ran" BEST SONG TITLE: "Ain't No New Buzz" FANTASTIC AMAZING TRIVIA FACT: I have also come to the rather troubling conclusion that, for better or worse, Detroit is the new Seattle (why is this so troubling? Well, because, first off, that makes Steve Mariucci the new Mike Holmgren, which in turn might actually make Barry Sanders the new Ahman Green. Needless to say, THAT'S a hell of a thing). –norb (In The Red)


CHARLIE BROWN GETS A VALENTINE:
Dismissed: CD
Emo. With a name that lame I should’ve expected as much. –jimmy (Whoa Oh)


CD TRUTH:
Chemically Dependent: CD
A little reminiscent of Smogtown, only with less intensity, less surf punk twang and more ‘70s punk leanings. Still manages to hit all the right spots, though. –jimmy (F.I.M.P.)


CAREER SUICIDE: : 7” :
Self-titled: 7"
Seven blasts that come off musically like a cross between IQ32-era Necros and Blood, Guts and Pussy-era Dwarves, meaning the songs are speedy without getting ridiculous and are well executed. Good stuff. –jimmy (Kangaroo)


BURY THE LIVING:
Bathed in Blood and Climbing Over the Dead: 7"
Shit howdy, this is some smokin’ hardcore. Things start off with a short, fast as hell ditty called “Your Colors May Not Run But I’ll Bet They Fucking Burn,” and then takes the speed down a notch for the remainder of the proceedings, even throwing a swing-tinged breakdown in the middle of one of the songs. The lyrics are strong and political, but coming off more pissed than whiny. A couple of the tunes take on 9/11, openly confronting the jingoism that has been unleashed in its aftermath and addressing the point that maybe the US finally got back a little of what it’s been dishing out to others for years. You get six tunes in all from these Tennessee boyos and not a bad one can be found in the bunch. –jimmy (Kangaroo)


BURN YOUR BRIDGES:
Self-titled: CD
It’s really nice to hear hardcore that recalls bands you’ve always loved (NOTA, Poison Idea, Reagan Youth) and beefs it up with changes and chops and noise and yet just sounds like they’re having fun rather than trying to be something that they’re not, or to out-hardcore or out-grind the next bunch of rockheads. Burn Your Bridges does it like champs, and as a two-piece no less. Not a weak or superfluous moment (and there are quite a few moments on here), but I wish I could figure out what the hell “Elf Defecation Barter” is about. –Cuss Baxter (Deep Six)


BUMP-N-UGLIES:
The All American 4 Pack: 7"
This is a band I’ve only heard one song at a time in various compilations. Everything I have heard consistently kicks ass. This time, I get four whole songs by them and they don’t let me down. Their music is hard rockin’ punk with some funny lyrics. They seem to be big fans of wrestling as well (“It Ain’t Cheatin’ If the Ref Ain’t Lookin’). “Hard Core Pride” is my personal favorite. This might instantly make you think they are giving props to hardcore music. Even better… hardcore porn. “Eighteen years old, nothing to do/ can’t drink or smoke, ‘cause your friends won’t approve/ dirty bookstore, you go inside/ its time to represent hard core pride!” It’s definitely got me singing along with fist in the air. It’s nice to see bands sing something so near and dear to my heart. Now I just need my Hard Core Pride tee shirt (hint hint). This is on Low Down Recordings, which seems to be a brand new label since this and one other recording are the only things on their website catalog. So why not help this fledging label out @ www.lowdownrecordings.com. (Hey B-N-U, how ‘bout that tee shirt now?) –toby (Low Down)


BLOWCHUNKS:
Self-titled: 7"
Two raw, straightforward rock/punk jams from Germany that just as easily could’ve come from Scandinavia, if you catch my drift. “Baby’s Got a Dick” is my pick as the better of the two tunes because it’s faster. –jimmy (High School)


BLISTERHEAD:
Punk Royale: CD
The Rancid shirt and scowl on one of the guys on the cover should tell you all you need to know about them. –jimmy (KOB)


BLASTMAT:
MCMLXXIV: CD
A punk band striving for that 1984 feel. Trouble is, the metal touch to the guitars makes it feel more like 1986 than ‘84. Liked the live tracks better than the studio tracks. –jimmy (www.blasmat.freeservers.com)


BLACKLIST BRIGADE/SMUT PEDDLERS:
Split: CD
Blacklist Brigade play raw, tough punk rock. They sound like they learned the right lessons from Cocksparrer and the Business, but also from OrangeCounty punk rock, from Social Distortion to the US Bombs. If Hostage Records moved to London, their first order of business would be to sign Blacklist Brigade. Luckily, Hostage can stay where it is because the BB boys have started their own internet fanzine (www.nofrontteeth.co.uk) and their own record label, and they’re doing an awesome job of things on their own. Blacklist Brigade has four new songs on this split, and all of them are great. The Smut Peddlers are also a great band, and I fully endorse them, and, if you haven’t picked up a Smut Peddlers album yet, you should buy Ism today. That said, all four songs on their half of this split are previously released. They’re four great songs, but I have to say that I’m bummed when I play a brand new CD and I already know all the words to half of the songs. Shit, though, I recommend this sucker anyway. –sean (No Front Teeth)


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