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· 1:#331 with Mike Faloon and Todd Taylor
· 2:One Punk’s Guide to Poetry
· 3:#332 with Kurt Morris
· 4:Top 5s from Issue #81
· 5:Marilyn Thunderhorse Interview


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Razorcake #82
Hurula, Vi ar manniskorna vara foraldrar varnade oss for LP
Razorcake #81
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Nights and Days in a Dark Carnival by Craven Rock


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Record Reviews

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Below are some recently posted reviews.

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NEW BLACK:
Self-titled: CD
A twangy guitar, an organ like the ones they had in the ‘60s, and a girl yelling the same words over and over and over again. But then a spunky, bisex-vox number with shades of Berlin or something scoots out and breaks the tension. It’s a short trip from charm to chore and New Black makes it several times. –Cuss Baxter (Thick)


NEUROSIS:
The Eye of Every Storm: CD
Long has it been since last I heard these guys, so long, in fact, that I’d completely forgotten what they sounded like. Thanks to this, it’s all coming back to me: sludgy, loud, looooooooooong noise rock that strangely fits right in to what’s making the rounds these days. Not my bag, which is probably why I forgot what they sounded like, but you gotta respect ‘em for sticking it out this long. –Jimmy Alvarado (www.neurosis.com)


MY SO-CALLED BAND:
Weapons of Mass Distortion: CDEP
Full disclosure: Chris Peigler, who plays in My So-Called Band, does live reviews and columns on razorcake.com. Weapons of Mass Distortion is the most straightforward and no-nonsense My So Called Band release I’ve heard. As a trio, the songs are more direct and shorn of the occasional meandering parts. If long-term enthusiasm, a fully tested arsenal of ethics, and living in a town (Charlotte, NC) with little to no appreciation for honest, DIY punk rock could be distilled into songs, My So Called-Band nails it. What works the most for this band is a greater understanding of punk rock in general while dipping into wells deeper than any one genre could provide. It’s like they’ve cribbed notes from the play lists of past greats as diverse as DOA to Naked Raygun to the MC5 – like a skeleton – but it’s all joined by a workmanlike ethos – the muscle – that keeps it from being merely a musically cut and paste affair. Separate parts, yet joined, and it’s a good listen. –Todd Taylor (Suicide Watch)


MUGGERS, THE:
self-titled: CD

Whoa! You skins and punks better hold onto your fucking boots because the Muggers are coming to kick your ass! This is some brutal fucking street punk for you. They start out with a song about John Walker Lindh, the American who was helping Al Queda. It’s called “Turn-Coat-Kid” and it’s got some lyrics. “I know what you did/John Walker Lindh/I know what you did/John Walker Lindh.” Then they burn into “Standing Back.” It’s about getting pissed off and killing some guy, then getting thrown in jail, which sucks. This one also has lyrics, “This must be a dream/Could be sitting at home like a king on his throne/ Nursing a black eye.” Yeah. This is sarcasm if you didn’t catch it. Megan wearing Bruce Roehrs’ Pants.

 

 

–Megan Pants (Radio)


MOUSEROCKET:
Self-titled: CD
Alicja Trout is one busy lady. Not only does she play in the Lost Sounds, the Fitts, and Destruction Unit, she’s the guitarist and main vocalist in Mouserocket. And much like John Reis (Rocket From the Crypt, Drive Like Jehu, The Swamis), being so busy and so involved (she runs Contaminated Records and distro out of Memphis, too) it doesn’t show at the kneecaps that she’s stretching herself too thin because none of the bands she’s involved in are slouchy. Mouserocket isn’t as synth-driven as the Lost Sounds, art damaged as Destruction Unit, or wrecked garage as the Fitts. Delicate is a good way to put it. The songs are more eerie, sad, and organic. Overall, this CD reminds me of the best of Bongwater, minus the more irritating fuck-your-ear noise bits and tracks that you swear they didn’t know the record button was pressed. So, all in all, it sounds otherworldly, yet it lends its hand out to the listener in a very accessible way, which doesn’t happen very often. It’s experimental but well realized with firm strokes. On first listen, my favorite track was the cover of the Damned’s “Alone Again Or,” but as I got more familiar with the musical scenery I like the album as a whole, from start to finish. The more I listened to it, the more I thought of it almost as an audio accompaniment to a darkly themed children’s book. Mouserocket would be perfect for a Where the Wild ThingsAre or a Series of Unfortunate Events movie, and that’s not a slight in the least. –Todd Taylor (Empty)


MORONICS:
Style Your Hair the Way the Moronics Like It: LP
Look, just ‘cause your record was recorded with a hand-held tape recorder packed in a cardboard box stuffed with flame retardant and dumped in the deep end of a swimming pool, it doesn’t mean it’s going to sound any better. –Jimmy Alvarado (Rockin’ Bones)


MORNING SHAKES, THE:
XXX-plode with the Sounds of Sex, Booze and Sin!: LP
...i’m not sure if it’s a testament to this defunct ‘90s outfit’s latent greatness or more of an indictment of today’s vendors of the Stinky Garage Molecule that a band which sounded “good” but not overly raveworthy six-seven years ago now comes off as substantially above average (“SUBSTANTIALLY ABOVE AVERAGE!” My devotion knows no bounds!) in most regards. Singles tracks, album tracks, the ever-popular “lost tracks” and some keen covers by a band who never met a New Bomb Turks song recorded in Billy Childish’s bedroom they didn’t like – i just hope when i die somebody can cobble together a package this useful out of my spare parts. BEST SONG: i got to go with the Dicks cover here, but if they would have thought to medley “Thunderbird ESQ” into “Stealing People’s Mail” i would say that. BEST SONG TITLE: “Devious Means,” outside authorship be hanged! FANTASTIC AMAZING TRIVIA FACT: This is one of two Rockin’ Bones releases reviewed this month which sports a Zero Boys cover. Indianapolis: New Centre of the Universe! –Rev. Norb (Rockin’ Bones)


MONSTERS, THE:
Youth Against Nature: CD
Wacked-out garage punk from a Swiss three-man band featuring Swiss one-man band Lightning Beat-Man. That, and a wide-eyed, cough-syruped, fuzz-addled blast down some weird highway from snow-blind northern Europe to a smoky roadhouse outside New Orleans in a car full of psychopaths on concrete tires. –Cuss Baxter (Voodoo Rhythm)


MODERN MACHINES:
Thwap!: LP
The first time I listened to this record, I thought it was just okay. Not great, not bad. I would’ve passed on it, but Maddy Tight Pants really loves the Modern Machines, and since I tend to agree with Maddy’s musical tastes most of the time, I figured that I’d give this record another chance. I took it home and, over the past two months, I’ve listened to it dozens of times. After all of these repeated listens, the songs started to separate in my head. I could better recognize the subtleties of the parts. I could pick out parts where the Replacements influence crept in. “Run It” has some nice echoes of the Big Boys. The heavy Hüsker Dü influence is just about everywhere, and that’s not a bad thing. I could hear where they were trying to branch out in different directions. And, in the end, I’ve decided that this album is great. And it’s bad. And it’s just okay. By that, I mean that four or five songs off of this album would make a great EP. Alternately, a few of these songs should’ve stayed in the practice room a bit longer before they were recorded. And the record is just okay when they have a song like “Radio Tower” which is going along great, then does a quick tempo change and launches into a part where the singer says he’s gonna fly, and I stop paying attention. I think that the Modern Machines have a good starting point. I think they’ll get better. For the time being, though, I’d rather listen to The Crowd song they’re named after than listen to this record. –Sean Carswell (Onion Flavored)


MISTAKE, THE:
Fuck Everything Up: CD
One of those chonka-chonka metal bands that plays their guitars nipple-high so that they can get the right chonka-chonka sound. According to the lyrics, they’re going to take back the scene from all you poseurs out there. Watch out, poseurs! –Josh (Prime Directive)


MIDNIGHT CREEPS/CAPO REGIME:
Split: CD
Midnight Creeps: Annoying metal/punk that was decidedly not my cup o’ poison. Capo Regime: Hardcore that wasn’t much better. –Jimmy Alvarado (Rodent Popsicle)


MARVELS, THE:
Cheat to Win: CD
I forgot how much Staffy’s vocals sound like the Black Halos until I put them on back-to-back the other day. A few line-up changes since the last recording, but no worse for the wear. Michelle adds a nice contrast with female vocals, and she plays a pretty mean bass. This recording captures their rawness much better than the last release. Anthemic, rock’n’roll with a snotty edge. I haven’t seen them in about two years, and they still top my list of live bands. Well worth checking out. –Megan Pants (Abbey Lounge)


MARKED MEN, THE:
On the Outside: CD
What is it that makes the Marked Men so great at what they do? Is it those bass lines that pop like an adolescent (read: pre-Guns N Roses) Tommy Stinson? Is it the way they took the bright, hooky guitars from the best late ‘70s power pop bands, axed the commercial rock tendencies, and then duct-taped them onto ninety-second punk rock songs? Is it the creative drumming that somehow never goes into Neil Peart territory? I don’t know. All I know is that they somehow found an untapped musical vein somewhere between Scared of Chaka and the FM Knives, only they’re better than both of those bands. And if you think that’s blasphemy, I’ll go one better and say that they’re the American Teengenerate. –Josh (Dirtnap)


MANIKINS, THE:
Self-titled: LP
Lo-Fi Rip Off punk that would’ve probably made for a great bunch of singles, but only manages to blur into one long drone as a full length. There are some good tunes on here, but it’s almost too much of a good thing, if you catch my drift. –Todd Taylor (Rockin’ Bones)


MALAVISTA:
Self-titled: CDEP
This one caught me by surprise. I haven’t heard anything from Malavista in a couple of years, and apparently, they’ve spent that time getting way better. This EP is five songs long, and the songs bridge the gap between ‘80s hardcore like Los Olvidados and JFA and current OrangeCounty beach punk like Smogtown and the Smut Peddlers. It’s a lot more complex than it sounds on the first listen, and, if you know how much I like all four bands I’ve just compared Malavista to, you understand how impressed I am by this EP. –Sean Carswell (Rezist)


LUBRICATED GOAT:
The Great Old Ones: CD
One time, I was at a Lubricated Goat show, and I yelled for my favorite Lubricated Goat song “Japanese Train Driver” after every song, and they never played it, and I was swimming in a sea of Milwaukee’s Best, because at that time they packed it in longnecks, and I swam home in it, and I discovered that “Japanese Train Driver” is by Grong Grong. I was terribly embarrassed. Later, singer Stu Spasm moved to New York and got stabbed in the brain. Apparently, recently, he formed a new Lubricated Goat and re-recorded several extant Lubricated Goat songs and they sound pretty good. I no longer have any of my Lubricated Goat records, so I can’t do a proper comparison, but I don’t remember Stu’s voice sounding so much like Lemmy or the guy from the Anti Nowhere League. Must’ve been the brain infection. Prime AmRep postpunk. –Cuss Baxter (Reptilian)


40 WATT DOMAIN:
Short Wave: CD
That stereotypical SoCal pop punk sound from a band that’s no doubt looking for that big break into the corporate cash cow. Look for ‘em live on the next Clear Channel tour and for this particular copy of this disc to hit the rubbish bin. –Jimmy Alvarado (Gaki)


LOUSY BREAK:
Don’t Wait for the Next Time: CD
Wow. There’s dice on the front AND back cover! Contains lyrics like: “Meet a girl drinking on a Friday night/Knowing she’ll get loose when she gets tight.” And, in the song “Fuck the French,” we’ve got, “Land of fags, wine, and cheese/A nation of pussies and chicks with dicks.” Wow. If this were a cereal, it’d be Berry Berry Kix. Yuck! –Maddy (Headache)


LOUD PIPES, THE:
LPEP: CDEP
Carbureted by Motorhead. Jetted by Thin Lizzy. Heads ported and polished by a Zeke-like efficiency on the flat track. Brakes? Removed. Insobriety? Check. Exhaust? Straight pipes, baffles removed, and can activate car alarms from a hundred yards. The Loud Pipes are a rat bike of a punk rock bar band, but the engine’s a monster, one that Poison Idea would approve of. What they give up in finesse, they’ve gained in pure, thick rubber-left-on-pavement power and fat, bruisey riffs. Not what I usually bang along to, but I tip my helmet to ‘em. –Todd Taylor (The Loud Pipes; <www.theloudpipes.com>)


LOST SOUNDS:
Demos and Outtakes Volume 2: 3 x 7” Box Set
While the terms “garage rock” and “new wave” have recently been smooshed together like a forgotten peanut butter and jelly sandwich in a back pocket, and most bands affecting that pose sound like a soggy mess, the Lost Sounds have tightened the screws on the hull of their monster of sound. From the eerie subject matter – including zombies and graveyards – to the b-movie world of lost planets, to the crackling, jumpy, synth-addled, guitar tramplings, the Lost Sounds started out by inhabiting distant worlds and are now setting their eyeballs, glowing green with radiation, on this planet. The wide structure of the band – I hate to use the word “concept,” because so many concepts are too damn fruity, but that’s what it may be – is analogous to Man… or Astroman? Substituting mutant wolverine new wave in the place of intergalactic surf opuses, the band is bigger than any one isolated part. A cacophony with it toes dipped in melody. How all of the pieces come together is the really exciting part. This box set’s a perfect example. You’ve got the music – fifteen songs on three seven inches – but it doesn’t stop there. Included are also a booklet, a poster, a pin, a photograph, and a piece of candy. Much like MoAM? The Lost Sounds seem to be as interested in creating an entirely new world as much as they are with creating new songs. This collection, as the title suggests, has alternate and earlier takes on a lot of their songs. It also includes one song that had never been released before, “Chopping Block.” Awesome. Limited to 500. –Todd Taylor (Rockin’ Bones)


LOST PATROL, THE:
Songs About Running Away: CD
Who the fuck ever thought that Dennis Lyxsén would ever write an album which is just slightly to the rock side of Kings Of Convenience? These country-inflected pop songs are a far cry from The International Noise Conspiracy, much less Refused. Frankly, once this hit the CD player, I really didn’t listen to much else for this issue. While there’s nothing here as overtly political as Lyxsén’s other bands, the songs seem covertly political, primarily focusing on relationships – perhaps romantic, perhaps platonic – which are still imbued with longing and desire. This is perhaps one of the most noteworthy characteristics inherent in Lyxsén’s music – there is usually a sense of yearning for something, whether a better political future or a relationship which doesn’t yield a sense that something is still missing. One of the most interesting artistic ideas at play here is a sense that disenfranchisement, that alienation and ostracization engender a void which pulls on other areas of a life; that being removed from or marginalized in the political realm can in turn result in frustrating or unfulfilling relationships and that these frustrations can cascade throughout one’s existence, coloring everything they touch. Of course, maybe I’m just another asshole rock critic who’s reading too much into a set of pop songs … but still, it moves. –Puckett (Burning Heart)


LOCOMOTIONS:
Self-titled: CD
If you purchased ten or more records with a Born On Date of 2003 A.D. and the Locomotions LP was not among them, you are hereby charged with Contempt of Rock, and will remain in such a state until the oversight is corrected and the proper reparations are made. As some sort of a fucked-up reward for you not being on-the-ball enough to have figured things out the first time through, said album is now available on piracy-friendly CD format with two bonus tracks. I would repeat my review of last year’s vinyl at this point, but the only part i remember is the bit about DMZ locking their rabid redheaded stepchildren in the basement and them burning the house down instead of playing “Mighty Idy” – which is, realistically, all you need to know anyway. If you like punk rock and you like, say, The Pack, then if you like the garage punk thing you oughtta like the Locomotions. Surely you groove upon the whole furriners-bashing-shit-around aesthetic? ROCK AWAITS YOUR OVERDUE ACT OF CONTRITION! BEST SONG: Goddammit, i STILL say “Sigma Attack!” BEST SONG TITLE: i don’t even remember what i said last time. FANTASTIC AMAZING TRIVIA FACT: The press release mistakenly refers to the song “She’s Got Her” as “She’s On Her.” Good one, Tom! –Rev. Norb (Dead Beat)


LAYMEN TERMS:
3 Weeks In: CD EP
Before the vocals kick in, the first song sounds so much like Metallica’s “One” that I can see Lars Ulrich nodding his head as he hits that tom just once before hitting the snare. Who’s showing off their classical guitar lessons, huh? –Puckett (Suburban Home)


LAHAR:
Collapsing of the Soul: CDEP
Three-song EP. Guessed the grind sound from the album title. Find the EP from the band Are You God? instead. –Speedway Randy (Wormfodder, www.odeum.org/wormfodder)


KUKL:
The Eye: CD & Holiday in Europe (The Noughty Nought): CD
Never been a fan of Bjork, but always kind of wanted to hear Kukl, her pre-SugarCubes band, as they were on Crass and that was a recommendation of sorts. Now I can, because it’s reissued. 1984’s The Eye is about what I expected: super-effected, Cure-esque guitar, arrhythmic percussion, gothic touches like donging bells, all presided over by Bjork’s grating caterwaul. The next year’s Holiday in Europe, however, makes considerable gains in terms of non-irritation: Bjork’s vocals are reigned in somewhat, the drumming shaped up, and the incidental noise fleshed out satisfyingly, giving the whole thing a tone that’s more regulated and more ethereal at the same time, like they stepped up from being pretend-weird to being actual-weird. That said, though, you’re not likely to catch me listening to Kukl again any time soon; just because it ain’t bad don’t make it good. –Cuss Baxter (One Little Indian)


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