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

MYLES OF DESTRUCTION/ABIKU:
Split: 7"
There’s a blurry picture of a bird on the cover. You figure it out. -Potsi –Guest Contributor (Worldeater)


MUTE THE SILENCE:
self-titled: 7"
Greek punk rock. Since it traveled so far to get reviewed, I wish there were more positive things to say about it. The intro sounds like Yanni. The name is as dumb as calling your band Volumate the Noise. Silence is already mute. The rest sounds like serious-minded NOFX mixed with Strung Out and Lagwagon with the vocals at a higher register. They have to reel back the metal stylings and the drummer knows monkey beats, but little else. I really wanted to give the Greeks a chance, but this was painfully mediocre pop punk, like one in a legion that were around in 1996. Greece: I like their baklava, but they can keep this band. Sorry.  –Todd Taylor (www.mutethesilence.com)


MUSTAPHAMOND:
Self-titled: 7"
This is textbook Tourette’s-core. Six or seven seconds of light, happy-skipping lollipop music suddenly has the wiggly blue organs ripped out of it by a screaming, bug-eyed fiend with a scythe dripping with blood and clumps of blubber and then it falls like a feather back into cuddly unicorns and dancing marshmallows for maybe twenty seconds or so and then the smiles explode into a nightmare of stringy cadavers flying through the sky, tangling in trees and after about a minute the focus suddenly softens to the Snuggles bear giggling like a child in a pile of fluffy clean laundry. Note to the band: they now have drugs for stuff like this. I can only imagine that abrupt emotion eruptions like this must make for awkward moments at the pottery wheel in your Advanced Pottery class. Or is it all merely the simple joy of clicking the little button that switches between the clean and dirty channels on your amps? (By the way, is Korn responsible for this?) I don’t know if this is one-legged screamcore or just amped-up mawkish emo, but if you’re fond of herky-jerky emotion bungee jumps, this bilge is for you.  –aphid (Grey Sky)


MRS. DOMINIC:
I Can’t Behave Myself: CD-EP
Above average, mid-tempo punk that is too paint-by-numbers. The songs are good but they could have been written by a million other bands. Nothing jumps out that sets them apart from the pack.  –Donofthedead (Damn Good)


MR. CALIFORNIA AND THE STATE POLICE:
Untitled: 7"
Dumb as a bucket of cold pud, ineptly recorded, booger-eating-simple lo-fi synth-punk sprinkled with little bits of Gibby Haynes, the Crucifucks, and plenty of whirling intestinal synthesizer floowumps. Kinda funny, kinda stupid, totally charming.  –aphid (Armpit Toast)


MOTORCYCLE PROM DATES, THE/THE SHUTUPS:
Split: CD
Prom Dates: pretty standard rock/punk band. Terrible cover of the Ramones’ “Bop ‘til You Drop.” Shutups: More of the same, although their cover of Motorhead’s “R.A.M.O.N.E.S.” was better than the other band’s cover. While neither band is particularly lousy, they aren’t exactly pee-in-the-pants exciting, either.  –Jimmy Alvarado (Motorcycle Prom Dates)


MONSTER X:
Indoctrination: CD
I remember seeing the name thrown around in the late ‘90s in zines. Never ever listened to them or bought anything. Here is another discography that takes care of all of my shopping needs. A mixture of power violence and grindcore that reminds me of Lack of Interest. I guess I should be more excited, but right now the cookie monster vocals are not doing it for me.  –Donofthedead (Hater of God)


MINORITY BLUES BAND:
Grab the Fire Swinging in the Rain: CD
Rule number one: Japanese punk rockers play their instruments better than American punk rockers. Rule number two: everything Snuffy Smile records releases is fucking awesome. Rule number three: well, it’s not so much a rule, but pick up this fucking album already. If you like Leatherface, Hüsker Dü, and the Replacements, you won’t be disappointed. And, yes, I realize that Leatherface, Hüsker Dü, and the Replacements don’t have all that much in common with each other, but Minority Blues Band has a lot in common with all three.  –Sean Carswell (Snuffy Smile)


MINDS, THE:
Plastic Girls: CD
Equidistant from the Briefs (using patented bounce technology) and the Epoxies (keyboards, but with a dude singing), but on a triangle’s corner all by themselves, I’ve played Plastic Girls upwards of fifty times since it arrived in the mail. Instead of the sheen wearing off, and reaching for Hit after Hit to get my Briefs fix, I find myself getting addicted to the Minds. The twelve songs fit nicely together, there’s an overwhelming TV Smith lock’n’load feel to all the songs (they also cover the Adverts’ “My Place”) that give them substance, weight, and blast where some of the more new wavey-inclined bands rely on lazier look-at-me, I’m-touching-the-keys-and-looking-sexy isms. What helps tie it all down is the fact that Cera Bella Palsy’s keyboard finds a way to wind through every song, and not merely as a garnish, but as the circulatory system to many of the tunes. Excellent stuff. Not as derivative as the first listen may lead you to believe. Smash! Smash! Smash!  –Todd Taylor (Dirtnap)


MIKE TOSCHI:
Mock Democracy: CD
Oh, dear lord, no! Whispery, breathy vocals over repetitive guitar, sometimes with oboe! – –Megan Pants (Global Seepej)


MEZKLAH:
Spider Monkey: CD
Hoo doggie, my buddy Donofthedead is gonna shit blue Twinkies when he hears this bad boy. Two – count ‘em – two guys, one on vocals and one on guitar (with the help of a drum machine), unleash one mutha of a mélange of hip hop, dub, ragamuffin, trance, funk, Cuban son, psychedelia – hell, damn near every style that has made the rounds through the underground, all served up with a healthy dose of punk rock “love us, hate us, but you ain’t gonna ignore us” attitude. Mind you, they ain’t mining the above musical styles by settling on one style for one song and then another the next. Au contraire, these guys are not only smooshing all these styles together into one raucous gumbo of sound on nearly EVERY TRACK, they are making it work: soaring guitars layered on top of Cuban piano forms fueled by the staccato of reggae, with some mighty fine, often bilingual, lyrics served up inna dancehall style, all of it slathered over a drum ‘n’ bass backbeat. This is some very creative, very heady stuff that works on a variety of levels, which is a polite way of saying yes, the booty can be shook quite nicely to it, but you just might find yourself thinking, too, if you don’t watch out. This is easily my pick of the issue and, quite possibly, of 2003.  –Jimmy Alvarado (www.mezklah.com)


MDC:
Now More than Ever: CD
Man, you know you’re getting old when MDC has a “greatest hits” package out. Saw this band many a time back when I was young, bald and mad at the world (which means I’m somehow in a different place now that I’m mad at the world, old and destined to go bald), and while they always struck me as a little too uptight in the early days, they were never dull to watch. Their records were always an event, though, ‘cause not only did you get what at the time was some of the most punishing and musically complex hardcore (seem to remember that their guitarist was a major jazz hound, and it showed), you also got some heady reading in the liner notes, with all kinds of information about how the US government was keeping itself busy in other countries and how the police were here to protect the elite’s assets from being defiled by the riff raff that most of us common folks are, and recommended reading if you wanted to know more. Somewhere around the late ‘80s, though, they kinda dropped offa the radar screen, and I lost track of ‘em, although I did hear that some o’ the boys got pinched by the pigs and were spending some time locked up and “on vacation,” as they call it in the ‘hood, and saw that Dave was still releasing product now and then with a different lineup. So, this is the first time I’ve actually heard some o’ this stuff and I’ve gotta say, some of the newer stuff sharing the, uh, grooves (do CDs even HAVE grooves?) here with the early classics aren’t too shabby in their own right. Many of the newer tunes show Dave’s wry sense of humor coming to the forefront more often than in the early days, as evidenced in his sendoffs to two of punk’s most reviled figures, Ronald Reagan and Skrewdriver’s Ian Stuart (the title of the latter, “Nazis Shouldn’t Drive,” caused me to laugh out loud). If you’re looking for the “best” of MDC, all’s you need is their first album, the More Dead Cops LP (which compiles all their early EPs), and Smoke Signals (if two albums worth of MDC just ain’t enough). If you’re more interested in catching up to where the band are these days musically, this is the perfect place to start while waiting for the next release to hit the shelves.  –Jimmy Alvarado (Beer City)


MAXEEN:
self-titled: CD
My Windows Media Player did not want to play this. It fluttered and skipped all over the place. I should take it as a sign.  –Donofthedead (Side One Dummy)


MARATHON:
Songs to Turn the Tide: CDEP
About five years ago, someone played me Death By Stereo’s first full length. I liked it all right, but it never stuck with me. It’s not quite metal, but the flirtations are all over the place, like it’s seriously dating metal, but not married to it. Songs to Turn the Tide has all the trimmings of Death By Stereo’s early output. Marathon’s vocalist seems just as comfortable with the cancer polyp scream and a vocal strain that’s halfway between sultry and Slayer. When the instruments slow down from locked-in hardcore, it sounds like they’re fighting off the urge to solo and have listened to At the Drive-In a couple times too many. I also get an early Good Riddance vibe, mostly in the lyrics. Yeah, I agree with lines like “This war just fuckin’ stinks,” but they aren’t going to have me singing along with my fist in the air any time soon. In the end, it sounds like a young band that’s finding its own sound. From the label that released the fuckin’ smoking Strike Anywhere debut –Todd Taylor (Red Leader)


M.O.T.O. (MASTERS OF THE OBVIOUS):
Spiral Slouch: 7"
M.O.T.O.’s been around long enough to be long-forgotten if they were a mere parody or joke band (they’ve been around since about 1981 and if you see the Bolt LP in the racks, it’s a keeper). Sure, they’re goofy as hell and do-a-blood-test-to-see-if-they’re-legally-retarded, but their blend of pop sensibilities slapped and dashed against many a punk rock always makes me smile. Sweet fuck, “Wind It Out” reminds me of Cat Stevens and I’m singing along to it. I don’t know if I should put the gun to my head or shoot it up in the air in jubilation.  –Todd Taylor (Shit Sandwich)


M.O.T.O. (MASTERS OF THE OBVIOUS):
Kill M.O.T.O.: CD
The true mark of off-kilter pop music with punk intentions is that it’ll implant the seed and before you catch yourself, you’ll be screaming the dumbest shit at the top of your lungs or at the most inappropriate times. Just listen to “I Hate My Fucking Job” and not have the notes leap into your brain like hantavirus. Masters of the Obvious take a brave ear – if you’ve never heard of them before – and the requirement that you’ve got a sense of humor about song structures. Kill M.O.T.O.’s equal parts guy-on-cardboard-asking-for-change (the last song, in particular), the on-par brilliance that people claim the Beach Boys have (I still haven’t been convinced of Brian Wilson’s contribution to music), a sweaty leather jacket, and balls as big as King Kong’s. Hits are plentiful on this one, but out of the seventeen tracks, my favorites have to be “The Chicks Can Tell,” (“I’m chucking off photons, neutrons, hard ons/ the chicks can tell.”) the aforementioned “I Hate My Fucking Job,” and “We Are the Rats.” All are on par with the best of M.O.T.O., “Crystallize My Penis” included. M.O.T.O. does a great job of reminding us that senses of humor are as invaluable as beer and air.  –Todd Taylor (Criminal I.Q.)


LOVE ME DESTROYER:
Black Heart Affair: CD
Sometimes a band can be too perfect. I feel this band is too perfect. The production is perfect. The songs are played to perfection. The hooks are just right. I feel the energy and emotion of the songs. I can’t find anything really wrong other than this just feels a little sanitized to me. Almost too formula, like I have heard it before. In turn, I feel unmoved.  –Donofthedead (Suburban Home)


LEATHERFACE:
Dog Disco: CD
Among Leatherface fans, it’s pretty much universally agreed on that Mush is their best album, and with good reason. Not only did that album find new ways to piledrive the listener with every spin, it seemed like the records that followed were much more subdued, more focused on writing songs than actively poking you in the brain. That’s not to say that they were bad, because they weren’t, and your life would be greatly enriched by owning records like Minx and Horsebox. To be perfectly honest, the first week or so that we had this, I was just glad that Leatherface was still a band and that they weren’t embarrassing themselves. After about ten listens, they got me in their musical drop toe hold and slowly pulled me under. I’m having to restrain myself from listening to it more than a couple of times a day, and all the other records that I usually listen to seem to have lost their luster. If I claimed to be anything less than totally amazed, I’d be a goddamn liar. I can’t imagine that a better record is going to come out this year.  –Josh (BYO)


LEATHERFACE:
Discography Part 2, Rare and Unreleased: LP
As the title would suggest, this has some hard or impossible to find Leatherface songs on it, including the amazing “Hops and Barley.” The first side of this record has early stuff from a split 7” with Wat Tyler, the Eagle 7”, and the Beerpig 7”. All great stuff. All songs that prove what an amazing band Leatherface really is. The second side has a cover of “I Can’t Help Falling,” which I think is an Elvis song, a cover of a Damned song, the piano ballad “Shipyards” (the song that I always skip when I listen to The Last CD by Leatherface, but it’s harder to skip over it on this record), an acoustic version of “In My Life” and a couple of good songs that get lost in between the last four that I mentioned. To be honest, I usually only listen to Side A of this. If you’re already a Leatherface fan, I recommend this. If you just want to check this band out and see why we praise them so highly here in Razorcake, pick up Dog Disco first.  –Sean Carswell (Deranged)


KILLER DREAMER:
Survival Guns b/w Pterodactyl 2: 7"
Beer-in-bag, dirty zombie action rock via San Pedro, CA. One song’s about a dinosaur bird plucking a friend off the street, then blood dripping from the sky. These two songs fit nicely, somewhere between the Bananas’ knack for making songs that rock hard and sweet yet remain fuzzy and gritty and the Fleshies’ superhuman ability to trailer hitch old-fashioned rock hooks onto new, not-quite-definable wingnut weirdness. Live, they boom the hell out of a living room. Recommended.  –Todd Taylor (Kapow)


JAD FAIR AND JASON WILLETT:
Superfine: CD
This is what you get when you take what could be an okay soundbite and make an album out of it. I just kept waiting for the music to come in, but it never did. Then again, I can’t say I waited too long. Out of the 155 tracks (No, that’s not a typo. One hundred fifty-five tracks.) I made it through two.  –Megan Pants (Public Eyesore – no address given)


J CHURCH:
Palestine: CD
I first heard J Church around the time of Prophylaxis and Quetzalcoatl; I kept up with the band for several albums and then we parted ways because the songs didn’t seem to mean as much to me anymore. They were catchy but I just lost my appreciation for the band somewhere along the way. As far as Palestine goes, it reminds me of what could have happened if Bob Mould had reverted to music reminiscent New Day Rising or Flip Your Wig for his first solo effort. The songs have hooks and they’re relatively catchy, but the effort just seems like more of the same. If you’re a J Church fan, you will likely already own this. If you aren’t, there’s no reason to start here (try The Precession of Simulacra as a different entry point).  –Puckett (Honey Bear)


INVENTING EDWARD:
We’ve Met An Impasse (By Midnight We’ll Be Naked): CD
I’ve been struggling with this album for several months now. It sounds like college rock from the 1980s and 1990s updated for a new decade which has no use for it, blending emo, art rock, perhaps a touch of prog…you get the drift. There’s a fair degree of impressive musicianship here (particularly the drumming and the soaring vocals), but these noodly guitars drive me batshit. It’s almost all notes – played slowly. As such, this is pretty much incapable of rocking by any definition, no matter how loose, of that word. Despite listening to this thing at least a dozen times, I still have absolutely no reaction to it. However my gut feeling is that most readers of this magazine (and by most I mean all but one or two) will have no use for it at all.  –Puckett (Substandard)


IN MEDIAS RES:
The Adequate Seven Inch: 7"
Four inspired songs searching for the Dischord sound but not getting there, especially with the awkward drum solo and the keyboard outro.  –Speedway Randy (2 Keys)


HOT CROSS:
Cryonics: CD
This blend of screamo hardcore is dissonant and angular with a slight metallic influence. It also makes me search for something which grabs my ears because there’s nothing that accomplishes that here.  –Puckett (Level Plane)


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 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 689 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 705 706 707 708 709 710 711 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 755 756 757 758 759 760 761 762 763 764 765 766 767 768 769 770 771 772 773 774 775 776 777 778 779 780 781 782 783 784 785 786 787 788 789 790 791 792 793 794 795 796 797 798 799 800 801 802 803 804 805 806 807 808 809 810 811 812 813 814 815 816 817 818 819 820 821 822 823 824 825 826 827 828 829 830 831 832 833 834 835 836 837 838 839 840 841 842 843 844 845 846 847 848 849 850 851 852 853 854 855 856 857 858 859 860 861 862 863 864 865 866 867 868 869 870 871 872 873 874 875 876 877 878 879

| 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



·SPIDER FRIENDS
·USELESS, THE
·RAMBLER 454
·Razorcake Podcast #85
·HOOKS & THE DAGGERS
·RHUBARBS
·HATED NOISE
·SKEPTICS, THE
·FRED THE CLOWN #2


Razorcake Records



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.