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· 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


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Record Reviews

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Below are some recently posted reviews.

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HERD OF WASTERS:
Just Three Dudes Havin’ a Real Good Time!: 2 x 7”

Self-described “party punks,” Herd Of Wasters deliver twelve tracks of their snotty, foul-mouthed brand of punk rock in a double-gatefold package, with printed inner sleeves featuring lyrics and cartoon images connected to each song. It’s nice to see a band invest that kind of attention into 7” packaging and not just photocopying a poorly hand-written sleeve, stuffing them in record bags, and calling it a day. Musically, Herd Of Wasters are fast and spastic, with some catchy riffs. The humor displayed in their lyrics, though, is the lowest of low-brow humor—dick and fart jokes making ample use of the word “fuck” does little for me. That said, the track “2, 4, 5, Trioxin” is kind of a fun one, crammed with references to the ‘80s horror flick Return of the Living Dead. If you like your jokes the way you like your beer, cheap, Herd Of Wasters could be your new favorite goofy punk band. If not, you can at least feast your eyes on the beautiful packaging job before you put it back in the record bin.

–Paul J. Comeau (Wasted Wax, wastedwax.ca)


H.D.Q.:
“Hand Me Downs” b/w “Toronto”: 7”

It’s been over twenty years since H.D.Q. released a record but the band is back with Dickie Hammond (Leatherface) once again showing why his guitar sound is revered (and frequently copied, yet not mastered) by so many. “Hand Me Downs” is taken from the new album Lost in Translation and delivers the goods in an archetypal H.D.Q. way—strong, guitar-driven melodic punk rock with a personal lyrical content conveyed by David Golledge, whose voice is as warm and effective as ever. The B-side, and non-LP track, “Toronto” continues in the same vein and is to be found on the CD version of the album. It’s great to have these guys back.

–Rich Cocksedge (Boss Tuneage, bosstuneage.com)


GUITAR WOLF:
Beast Vibrator: LP

Guitar Wolf are on a roll blazing into America the past three years, blowing away crowds and leaving hard-to-locate LPs available only through their own inaccessible record label. Their latest is no disappointment. Beast Vibrator forces rock’n’roll riffs through overdriven amps with reckless abandon. They still got it. Grab the album if you see it. Guitar Wolf are not going away.

–Billups Allen (Self-released)


GRAND COLLAPSE:
Self-titled: 7”

A relatively new band from Cardiff/Bristol (U.K.) that delivers three rather stonking tracks of a hardcore variety. The vocals of Calvin Sewell (son of Andrew “Stig” Sewell, formerly of Icons Of Filth) have a Crass/oi like quality to them as he barks out the lyrics, accompanied by a clamorous, yet melodic, din that shifts tempo and direction with ease. The title track, “Grand Collapse,” is a prime example of this and it really does highlight how good this band is. On this evidence, I’d say that Grand Collapse has a promising future and I’m hoping an album is in the pipeline.

–Rich Cocksedge (Pumpkin, matt@pumpkinrecords.co.uk, pumpkinrecords.co.uk)


GOVERNMENT FLU / POISON PLANET:
Split: 7”

Imagine two dogs, one either side of a fence; both animals are mightily pissed off as they’ve been left in the sun with no food or water and, as a result, they are making a hell of a racket. To add to this situation there’s bad blood between the beasts, which only adds an element of rage to the on-going furor. That is what this split release is like—on one side, Polish band Government Flu is snapping away at a fair pace with an obvious nod towards an ‘80s USHC sound, whilst on the other, the Americans, Poison Planet, add a bit more grit and sludge to the mix with hints of Black Flag infusing its four songs. This 7” is fast, furious, and should not be taken lightly.

–Rich Cocksedge (Refuse, refusexresist@go2.pl, refuserecords.prv.pl)


GOOD GRIEF / BUZZorHOWL:
Split: 7”

Two relatively new bands from Liverpool, both of which have some pedigree in terms of personnel—Good Grief includes former members of The 255s and Flamingo 50, whilst members of BUZZorHOWL have Drive and Jailcell Recipes on their CVs. Good Grief offer up a pair of catchy tunes including a J Church cover and a strong self-penned effort that clearly has some Samiam love going on. However, BUZZorHOWL are the stand out act with a Superchunk / Dinosaur Jr kind of sound that doesn’t come across as some nostalgic venture—”Fuel” is a belter of a song and “Pills & Work” isn’t too far behind either, ensuring they win a close run battle on this release.

–Rich Cocksedge (Drunken Sailor, drunkensailorrecs@gmail.com, drunkensailorrecords.co.uk / Boss Tuneage, bosstuneage.com)


GOLDEN PELICANS:
“The Earls” b/w “Chained to This Dumpster”: 7"

The records on this label always have such a mean sound. I guess they must all be pissed about having to use red ink and a rubber stamp on the covers. Nifty guitar and bass parts on two punk snarlers of indeterminate influences ((‘60s? ‘90s? Am I even close?)), with some bellicose nut yelling so loudly and out-of-tunely over the top as to be noteworthy in a field where yelling loudly and out-of-tunely is the longstanding norm. I wonder whom the guy thinks he’s singing like? David Johansen? I’m not seduced, but I am intrigued by their pelicanly charms. Quick, show us all how you suck blood from your own breast to feed your offspring!!! BEST SONG: “Chained to This Dumpster” BEST SONG TITLE: “Chained to This Dumpster.” FANTASTIC AMAZING TRIVIA FACT: “Golden Pelicans” is the name of the rival gang in the Rats’ 1965 garage punk classic “The Rat’s Revenge.”

–Rev. Norb (Total Punk)


GARY WRONG GROUP:
Self-titled: LP

A droney mix of heavily overdriven noise framing echo-laden vocals and snotty attitude. A small dose of Devo, Butthole Surfers, and long, reverb-drenched riffs make the album fun for late night listening.

–Billups Allen (Total Punk, totalpunkrecords.tumblr.com)


FUNSUCK:
Demo: Cassette

Crushing, loud punk rock with thrash beats that rolls along with the force of an eighteen-wheeler. Lots of chords that follow the vocal line exactly, creating a straightforward unity in a lot of the songs. For every moment where the songsmithing seems to be building to a greater purpose, inevitably the musicianship becomes stale and predictably small scale. Fine, but lacking. Grade: B-.

–Bryan Static (Self-released)


FRUSTROS:
A L’Attaque Du Rien: 7”

This complex French band sings in French and seems to be singing at least in part about subjects borrowed from horror flicks. It’s all too easy to compare intricate bands to Mission Of Burma, but this really does have a Mission Of Burma vibe, from the production and vocals on down. A class act overall, this 7” is limited to just three hundred copies but can be downloaded online directly from Frustros. Very much recommended for fans of the trickier sides of punk and hardcore.

–Art Ettinger (Self-released, frustros.pimienta.org)


FAVL:
Il Prezzo Da Pagare: 7”

Italy has produced scores of great bootboy bands, from the infamous Nabat (though their later catalog sort of fizzled out), to the obscuriosities like Grey Shadow (whose lone recording, two tracks on the amazing Goot from the Boot compilation, set a sort of strange tone for oi/death rock) to more modern bands like Razzapparte. FAVL have more in common with the latter, but lack the positive melodies, instead going for a more malicious vibe. They still have that second guitar to throw melodic riffs, but they’re simple and menacing. As generic as my comparison may sound, they literally sound like a cross between Condemned 84 and early Nabat. This record is definitely not for people who aren’t already fans of the genre, and the pressing of 250 represents their forced exclusivity. For anyone who actually knows what the hell I’ve been saying for the last paragraph, this is for you and you won’t be disappointed.

–Ian Wise (Stratum, stratumrecords.nl)


EX-CULT:
Mister Fantasy: 7”

It’s the guitar in “Mister Fantasy” with its somewhat spooky sound that pulls me in, but it’s the tough delivery that keeps me sticking around. The vocals are delivered with force, almost like jabs. The flipside is a tad slower and has a somber feel about it as it slowly builds in tempo, outlining a bleak view of a world that is not what it once was. Maybe this song is about today? “You’re not free to resign, that was a different time...” The ending is kind of weird, as the song suddenly changes tempo and goes off into something a bit more fast and hammering. This single is their best record yet.

–Matt Average (goner-records.com)


ERRO:
Demo: CD-R

I’m told that this band has members from Zero Zero. Being that this is a live demo, the recording is pretty rough. I usually tend to not bother with live recordings, but I must admit, the rough quality actually works here since it definitely captures the energy of a live set. Erro are a mix of grindcore and thrash. There are some heavy and abrasive elements, and then they hit some fast speeds that lean more towards hardcore punk instead of metal.

–Matt Average (Self-released, bandaerro@gmail.com)


ENDAND:
Mechanics & Energetics of Stilt-Running: CD

Off-kilter, spazzy indie/emo (in the ‘90s sense) that seems to draw equally from the alt-art Archers Of Loaf, twinkly Kinsella, post-hardcore Dischord, and mid-period SST worlds. Not really my thing, but really well-done and more immediate and upbeat than a lot of the Midwest emo clones that are popping up these days. Nice job.

–Dave Williams (Self-released, endand.bandcamp.com)


BLUE CROSS:
Conspiracy: LP

I was hoping there would be another Blue Cross record. This one is somewhat along the lines of their I Am Death LP. The songs on this are a little quicker in pace, though. Yet they still retain that dark and minimal style. The sound is a little more fleshed out as well. I like the synth towards the end of “Don’t Submit,” and the layers of sound in the song. “Conduit” is one of my favorites on here. The song races at a nice and wound-up pace and the vocals are coolly delivered despite it all. “Your Violence” sounds like something you would hear in an early to mid-1980s horror film. Lyrical themes on here tend to revolve around the idea put forth by the title of this album, which makes for an even more interesting listen. I’m always pulled in by the sheets of guitar that dominate the songs. It has this cold and all-encompassing way about it. Also, Jess’s vocals are stronger and more to the front in the mix on here. One of the things that I really like is that Blue Cross is shedding their influences to a point where they are having their own sound. You can’t say they really sound like Siouxsie or Christian Death. Yes, those influences are in there, but it’s not blatant. They’re adding to the genre at this point. This comes on blue vinyl, in case you are wondering.

–Matt Average (Chaos Rurale, chaosrurale.com)


BLEEDING TONGUES:
Veins of Oil: CD

This is a solo project from the former singer of Raw Nerves and guitarist/singer of Squalora and is kind of acoustic, kind of ambient, and mostly not my thing at all. The lyrics are great on “Veins of Oil.” They’re very political and topical about how oil is the reason for so many of our troubles and wars. Regretfully, the vocals are buried in the mix and have effects loaded on top of them. I can barely make them out. Thanks for the printed lyrics in the CD cover. This is the kind of pretentious claptrap—like experimental noise and ideas that sound great in the studio, but fail to work well outside of your group of friends—that people seem to put out and fans of the artist love, but outsiders seem to miss the point of. You get four songs, but two of them are the songs played backwards—like the album is being played backwards to hear if there are subliminal messages mixed in. Sadly, subliminal messages might have helped… no thanks.

–Rick Ecker (Poisoned Candy, poisonedcandy.weebly.com)


BITS OF SHIT:
Self-titled: 7”

Bits Of Shit is a band that knows exactly what it wants to be. These Aussies stand proud in their denim, and not in a tongue-in-cheek, Turbonegro way. No bullshit, straight-forward riffery, pounding drums, and threatening, propulsive bass. New heralds of the post-apocalypse? If you’ve seen B.O.S live, you know what I mean. I bought this record a few months ago but it got lost in the mix. I bought like a dozen 7”s at once and a few unfortunately got buried. I slept on the Cut Sleeves LP last year, even after seeing them live. I’m remembering that my local record store had the LP in stock at one time, so I think I’ll take a time-out to go buy it and listen to it, if it’s still available. Okay, now I’m back with the album, and after one listen, I’m better for it. Back to the 7”! Everyone needs to own a record with a song called “Meat Thump.” Even after a half-dozen listens, I can hardly understand the words but I’m going to say it’s about jacking off. These two songs are as fully realized as the album. A good fit on the Total Punk label. B.O.S would probably go well on a bill with The Wretched Ones.

–Sal Lucci (Total Punk)


BATON ROUGE:
“Amer” b/w “Contrepied, Contretemps”: 7”

Baton Rouge have a real Jehu/Hot Snakes vibe—same kind of Froberg shouts and steady rhythms and great guitar tones—but also sound rooted in the ‘00s screamy underground. I wasn’t surprised to see they were on the same label as Off Minor and Daniel Striped Tiger. The songs are dynamic and chimey and propulsive and dark and all the things you would want, or expect. But there’s also something restrained about them. Both songs sound like they’re building to something and then end unceremoniously; they fizzle out or they come to a halt. It’s not a blue balls feeling exactly, but something’s being held back. Feels like they’re playing by the rules. If they free themselves up, who knows what could happen.

–Matt Werts (Bakery Outlet, bakeryoutletrecords.com / PurePainSugar, purepainsugar.com)


BALSA / SEI HEX:
Split: 7”

Two northwest post-hardcore bands share this split. Balsa, a Seattle band, offers three songs packed tight with steady drum fills and pulsing bass that keep things rolling. The vocals are strange, screechy male vox, that are a bit off-putting at first listen. Flip to side B, all girl band Sei Hexe, self-described as “cat metal,” offers two songs which can best be described as post-hardcore/tribal crust. A mix of goth, metal, and post-punk. It’s dark, aggressive, tribal, and gets under your skin. This is really not my thing, but I have a feeling they probably kill this shit live.

–Camylle Reynolds (String Break, stringbreak.com)


BAD TIMES:
Why Are All the Kids Are Crying?: CD

Not to be confused with the Jay Reatard/Eric Oblivion supergroup of the same name, these boys are from Denton, Texas. Which, we all know (you do know, don’t you?) has birthed some incredible talent. This Bad Times emulates a bit more Wipers or Sebadoh than the Marked Men, but it isn’t far removed from our Denton heroes, either. The songs are upbeat, but a little darker than the garage stuff the city is known for. Vocals that are pronounced and monotone, rather that blasting catchy “nah-nah-nah’s,” if you get where I’m going with that. Still, there’s a power pop edge sneaking in there. I’m sure they own Boys and Plimsouls LPs. Ten consistent jams, with the opening track “Mormon Recovery Program” being the strongest. The production is incredibly slick. To the point where you can hear every note played and drum hit perfectly. The songs are great, but I’d be interested to hear what Mark Ryan, Orville from Bad Sports, or one of the Wax Museums (recorded in “Billy’s Room”) could make their record sound like.

–Steve Adamyk (Self-released)


ANTI-CIMEX:
Victims of a Bomb Raid: EP

This is Anti-Cimex’s third EP, and though not as blazing as their second EP, Raped Ass, it still packs a devastating blow. Sound wise, this sits in the middle of their first two records: mid tempo, still catchy, and a heavier sound via the Discharge influence seeping in. I like how they continue to solo in the songs—as started on the Raped Ass EP. It gives the sound a more urgent feel, believe it or not. The title track is a total burner—with the churning bass line—then that break where it’s just the bass rumbling. Then everything comes back in underscoring the sonic force they were becoming. Plus, you will be singing this song to yourself within minutes of the record being over. “Game of the Arseholes” is another killer on here. I like their attack on religion, straight, unrefined, and to the point. That dive bomb guitar intro is always great to hear. Also, I like the fact that Sweet influenced them to title a song “Set Me Free.” Absolutely essential listening.

–Matt Average (Nada Nada, nadanadadiscos.com, info@nadanadadiscos.com)


ANTI-CIMEX:
Anarkist Attack: EP

Psyched as hell to see this stuff getting reissued on vinyl. I have the CD that has the first three EPs that Distortion put out twenty years ago. Can’t afford, nor would I want to pay, the collector prices for the original. That money can be better spent on things like skateboards, food, more records, and books. So, thanks to Nada Nada and Spicoli for reissuing this, as well as Raped Ass, and Victims of a Bomb Raid for those of us with discerning taste. They have even kept the covers to the original format and design. Anarkist Attack was the first EP from Anti-Cimex, and while it is perhaps their rawest, it’s still pretty good, and even catchy. These four songs don’t bear the Discharge influence that would surface on the following records. This stuff is more just straight-up hardcore punk. Maybe it’s the looseness of the sound, or the drumming style, but I’m reminded of the early Italian hardcore style when I listen to this record. You get four short blasts that race at a decent pace, but never a dull blur, making sure the songs retain their individual character and stand out from the next. I like the hectic pace in the chorus to “Drömmusik,” where the singer Jonsson sounds like he’s slightly ahead of the rest of the band. Seriously, this is a great record, and essential to your collection. Jonsson would go on to sing for Wolfpack/Wolfbrigade, Charlie would go on to be in bands like Death Dealers, Psychotic Youth, and Driller Killer.

–Matt Average (Nada Nada, nadanadadiscos.com, info@nadanadadiscos.com)


1981:
In the Dead of the Night: 7”

Four tracks of Finnish anarcho punk that owes much of its sound to the likes of New Model Army, Zounds, and Crass. Songs are all generally around the mid-tempo mark, with male/female vocals which are the cause of the comparison to Crass (most notably on “Think for Yourself” which is the best track on the record), whilst the music tends to have a similar sound and structure to that of early New Model Army, especially in terms of the rhythm section with hints of Zounds heard in the guitar work. Nothing spectacular but enjoyable nonetheless.

–Rich Cocksedge (Stonehenge, cybergod@stonehengerecords.com, stonehengerecords.com / Profiteer, prfitr@gmail.com)


REMEMBER THIS MOMENT:
Joan of Something: 7” EP

Remember This Moment play acoustic folk punk and cover all the tropes of the genre—furious strumming, throaty, bellowing vocals, anthemic examinations of the mundane, and heart-on-sleeve philosophy. I mean I think those are the tropes, I could be wrong. I tend to avoid this kind of thing because it makes my whole body cringe. But I would call it basic punkhouse bohemia, more like Gainesville stuff than Billy Bragg. Everyone’s got a right to be in their twenties and read Rilke or Ishmael (or whatever) and feel profound things and I won’t begrudge them that. It’s also hard to be critical of this record because, according to the liner notes, it was made for the band’s circle of friends. Like each song is specifically written for a friend of theirs. It’s a memento for a small community, and judging it by any other standard seems like a waste of time. I’m not into it, but I don’t know that I need to be. The only thing I can’t be diplomatic about is the last song (“Existence Summary”), which has no lyrics, just a bunch of “whoa-oh’s.” Absolutely inexcusable.

–Matt Werts (Granola Bars / Lost Cat, lostcatrecords.org)


OLD GLORY:
Battle Born: 7”

Las Vegas oi/street rock style stuff that is well recorded and actually really catchy. The title track is kind of a dud for me, but the second song picks it up a little bit. Everything is really in that mid-tempo range so it’s not like it’s in your face, but the songs are good and the lead breaks are catchy and good. It vaguely reminds me of stuff like Patriot or the early Adolf And The Piss Artists records. I guess the best point of reference would be Maddog Surrender, but that’s probably a little obscure. The B-side track “Enough of You” is the best of the three and has that nice Best Defense vibe to it. The band is American but the record came out on a label in the Netherlands’s, so I’m not sure how hard it would be to get over here.

–Ian Wise (Stratum, stratumrecords.nl)


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