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· 1:The Rikk Agnew Band, Symbol Six, Barrio Tiger and A Pretty Mess
· 2:Interview with Adam Gnade
· 3:Sign Up for a Razorcake Automatic Payment Plan
· 4:#323 - Future Virgins Edition with Todd Taylor and Mike Faloon
· 5:Burn Burn Burn Interview


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Record Reviews

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PAPERMOONS:
Self-titled: 7”
This record is like putting saran wrap on the toilet while your friends are sleeping and during the middle of the night they piss on their legs. No wait, that’s not right… This record is like driving your car and running a red light without being caught. Fuck. What the hell am I trying to say? This 7” has left me utterly confused. Before I listened to it, I wasn’t aware I liked droney acoustic numbers. I really expected to hate this release because I knew Papermoons was a folk band before I let the needle hit the wax and then two songs in, I actually found myself enjoying it. I guess I wouldn’t be so apprehensive about it if I wasn’t still getting over the “it has to be punk to be good” mindset. Forgive me, for I am young. –Bryan Static (Team Science)


PANGEA / HARVEST MOON SOCIETY:
Split: 7”EP
Two bands that share members, and they alternate song-by-song, not side-by-side, so it’s more of a melding or a collective consciousness. Both bands are what I was hoping to hear when: A.) people say, “Influenced by the Violent Femmes” (although these two bands have made no such claims). There’s this charming, quietly dissonant playfulness/seriousness threading through all four songs and the dude singer sounds more than a little like Gordon Gano. B.) What I thought The Weakerthans would sound like before I actually heard them: artful playfulness that’s punchy, without the precious “Canadian sweater, Poetry (big P), and tea”-ness that rubs me the wrong way with the aforementioned band. C.) I love swearing in folksy songs (“I ain’t no goddamn Golden Arches”) because that ensures it’ll remain a “folk” song and not a “radio” song that’ll be repackaged in fifteen years when I’m in the market for a new automobile or tube of toothpaste. Great record. Fans of The Hot New Mexicans, Nervous Dogs, Rumbleseat, and The Pine Hill Haints are predisposed to liking this, if they know it now or not. –Todd Taylor (Stress Domain)


OSCARS, THE / EVIL WIZARD EYES:
Split: 7”
The Oscars and Evil Wizard Eyes are two very Memphis garage punk bands. The Oscars remind me of The Spits, primarily due to the vocals. Evil Wizard Eyes is on the harder edge of the Memphis scene, with occasionally screamed vocals. Both bands play wild, lo-fi, sloppy garage punk that sounds less contrived than it is. The handmade glued cover artwork kicks ass. –Art Ettinger (Soul Is Cheap)


OLDE GHOST:
Totally:
Suggestion to whoever wrote the one sheet: don’t name drop Drive Like Jehu and Hot Snakes when the band you’re pumping is pretty much a straight-ahead modern punk band with screamed-rasped vocals, heavy tuning, and weight. Whereas John Reis, Gar Wood, and Co. made songs in which the notes could be made into maps of different, freaky, and badass worlds, Olde Ghost’s music is more or less a straight line with a couple of small swerves and pebbles being kicked up. Like End On End, perhaps, or the less interesting God Hates Computers tracks? Nice chipboard packaging and it came with a CDEP, too. –Todd Taylor (7”EP)


OLD TIME RELIJUN:
Catharsis in Crisis: CD
These guys make Wesley Willis sound like Asia –Sean Koepenick (K)


NUX VOMICA:
A Civilized World: CD
Gallops and palm-mutes galore. Frantic metal peppered here and there with acoustic guitar. I don’t really think I’m doing this thing justice—I actually really like it, and the Accused and Cryptic Slaughter’s usually about as far as my metal tastes reach. Best conclusion I can come up with is if Fingerprint decided to get back together and grow their hair out. Given the air of apocalyptica that visually shrouds this thing, and the corny one sheet touting how great the band is (do those things actually do anything positive at all? Someone needs to do some extensive market research), I was preparing myself to not like this. Instead, I’m mentally high-fiving Nux Vomica for being a smart, kick-ass metal band that’s put out a ferocious, topical, tough-as-nails record. –Keith Rosson (Aborted Society)


NO NO ZERO:
Rough Stuff: LP
Given the primo packaging on this thing (it came with two really nice silkscreens, and the cover features a rad ink drawing of a monkey and leopard about to kick the shit out of each other) I was a little surprised to find an entire album lyrically devoted to extensive assplay and jizzing on ‘70s European porn stars. It’s all done in a kind of garage/ surf hybrid, fronted by a dude who’s trying pretty hard at sounding like Lux Interior. There’s the occasional stand-up bass and vibraphone, which adds an almost ‘60s psychedelic twang to things. So if that sounds interesting, and you’re stoked to have finally found a band that’s written songs called “Taco Wagon,” “Ass Commando,” and “Why Won’t You Let Me Fuck You?” then I’ve got a record I’d be happy to give you. Call before you come over. –Keith Rosson (Folk Brand)


NEW MODEL ARMY:
High: CD
At this point in their twenty-plus year career, the New Model Army and this particular devoted fan face different problems, in regard to their music. Their problem is trying to reintroduce themselves to a neglected North American market, something made even more challenging by the authorities’ recent refusal of visas for a U.S. tour. 2005’s spate of double-CD remastered editions of some of their finest recordings—No Rest for the Wicked (1985), The Ghost of Cain (1986), Thunder and Consolation (1989), and the slightly-too-gothy Impurity (1990)—should help to spread awareness, with their dozens of excellent/memorable songs placing them slightly below the Clash in terms of populist appeal. (Don’t ask me to locate them in regard to Crass. I can’t. It should say something, though, that Crass and the Clash are the two significant points of reference). Singer/songwriter Sullivan’s unique, working-class-Brit growl and his gift for writing probing, thought-provoking, and often politically challenging lyrics and setting them to really catchy, near-classic rock structures places him way up there, by me; why they don’t have a larger following here has always been a puzzle. My problem is a bit different: having followed the New Model Army eagerly since the mid-1980s, I very nearly have “enough” of their music to keep me happy. You know how it is—sometimes, when you have eight great studio discs by a band you like, you really just don’t need a ninth. (Who the hell cares about Sonic Youth’s Rather Ripped, for instance, that also owns the entirety of their SST catalogue, and their first few discs for Geffen? How much Sonic Youth do you listen to in a week, anyhow?). Maybe that was why I didn’t bother with Strange Brotherhood (1998) and didn’t at all dig Carnival, the NMA’s 2005 offering. Aside from one standout track on that disc, “Another Imperial Day,” which is the best song I’ve heard yet about globalization, there really wasn’t that much on it that hadn’t been done better before by the same band—or, well, by Justin Sullivan and his previous collaborators, since their lineup has changed a few times. To a near-saturated fan like myself, the disc was okay, but it wasn’t necessary. For both the band’s purposes, and mine, High (2007) serves far better. The songwriting has more energy than Carnival; tunes like “Wired” are faster to catch you, more immediate in their rewards, while the intelligence of the band’s songwriting is abundantly clear throughout. “Bloodsports,” about the tedious human need of war, will probably prove to be a classic, and “One of the Chosen,” a scarily believable song about the appeal of cults and fanaticism to lost non-believers, is beyond a doubt one of their finest moments, seeming almost novelistic in the degree to which it gets inside the “main character’s” headspace. There are glimpses into human psychology that I’ve never seen put to song before (“Nothing Dies Easy,” about the stubbornness of things, in the face of change) and what seems, compared to the pagan environmentalism of Sullivan’s past, a rather new attitude toward progress; at times (“Into the Wind”), he almost seems breath-taken by the immensity of human ambition and hunger, more than he is terrified. The title and title track don’t refer to drugs, by the way, but to looking down at the world from a godlike perspective—the sort of vantage Nietzsche would describe as Hyperborean. “The movers move, the shakers shake/ The winners write the history/ But from high on the high hills it all looks like nothing.” Let’s hope this newfound maturity doesn’t keep him from being pissed off about stuff; Sullivan is damned good at being pissed off. –Allan MacInnis –Guest Contributor (Attack Attack)


NEW MEXICAN DISASTER SQUAD:
Peace with Nothing: Digital EP
Razorcake usually tends to frown upon reviewing digital-only releases, but this one gets a free pass because it’s going to be released as a 7” vinyl soon, and also the nice people at Jade Tree went through the trouble of burning the album onto CD, so, technically, it’s a hardcopy now. New Mexican Disaster Squad plays melodic hardcore (i.e. 7 Seconds, Kid Dynamite) that manages to sound fresh and energetic. At only five songs, the EP is a nice little jolt of adrenaline that’s over so quickly you might want to put it on loop two or three times. The album contains three originals which are all excellent, a cover of Government Issue’s “Understand” (I honestly only know that, because the press sheet said so), and the final track is a cover of 7 Seconds’ “Here’s Your Warning.” Now the 7 Seconds cover sounds exactly like the original, but this is a case of “if it’s not broken why fix it?” to me. Well, in all fairness, they do change the “Now it’s 1984” line so that it’s actually relevant. These guys don’t pull off a lot of tricks in their sound, but they’re good at what they do, so they don’t really need to. After all, there are too many bands that turn to shit after they discover the magic of metal guitar solos. –Adrian (Jade Tree)


NEW MEXICAN DISASTER SQUAD:
Don’t Believe: CD
Ya, this is a fun one. It’s been a rarity these days for a good hardcore record to drop in my lap, but I’m glad that this one did. This was my first exposure to these guys, and I’m happily impressed because I love both Verbal Assault and Swiz, and New Mexican Disaster Squad remind me of a chunky blending of both. And while I make heavy recourse to it, I really don’t like writing about a band by comparing them to another band, but if the shoe fits, goddammit… Lots of good hardcore coming out these days takes that “classic” ‘80s sound and updates it. I’m really happy that I don’t have to say that about this record; it has a mid-’80s groove to it, and that’s the way it should be, at least with this band, at any rate. Good stuff. –The Lord Kveldulfr (Jade Tree)


NEKROMANTIX:
Life Is a Grave & I Dig it!!!: CD
The influential scene star Kim Nekromantix is approaching twenty years in the biz, and has adjusted to life in the U.S., a major line-up change, and a deal with the ever-burgeoning Hellcat [Epitaph] label—forces that resulted in a complete sound overhaul. Life Is a Grave reveals a depth of musicianship; a darker and more complete interpretation of the musical components that are the psycho cocktail. It’s a polished, mature, and sated release more akin to calculating serial killers than the crimes of passion which hallmarked Curse of the Coffin and Brought Back to Life. Fits into the new mold of psychobilly: subdued and balanced bass, Damned-style vocals, and tricky multi-genre guitar fingering. –Jessica Thiringer (Hellcat)


MOUTH SEWN SHUT:
Doomed Future Today: CD
Say what? Doom-laden reggae? Ska with crust overtones? From a purely visual standpoint, it was pretty easy to initially write this band off, or at least assume I knew exactly what I was getting. You know: brutal name in scary font. Dead bird on cover. Skull on back cover. LP version by Profane Existence, etcetera. This is me generalizing, right? The jaded reviewer who’s heard it all. Then I put the CD thing in the player thing and for a few minutes I’m hearing pretty much what I expected. Then the third song, “World War 3 Is Coming” hits my ears and… they’re playing reggae. Yes, it’s filtered through backpatches and a big love for Amebix. Yes, the guy’s still belting his guts out. Yes, their pedals are still in the red. But I’ll be goddamned if they’re not playing a weird reggae/ska/crust amalgamation on at least half of this record. And I’m not talking Citizen Fish “clean guitars with horns” either—this stuff’s ugly. It’s dark, dense, and simultaneously manages to be toe-tapping and mired neck-deep in gloom. Lyrics are despondent and generally pretty fucking hopeless. While there are moments on Doomed Future Today that aren’t quite successful, there’s a lot more that showcases a band that’s just on, and doing it by melding two genres I wouldn’t have tried pairing up in a million years. So if you want to measure a band’s success by, you know, radio airplay and online downloads and stuff, this one won’t do much for you. But if you want to measure success the fact that they’ve consistently engaged the listener and kept shit really interesting throughout fourteen songs, then Mouth Sewn Shut’s coming out on top. –Keith Rosson (Rodent Popsicle)


MODERN LIFE IS WAR:
My Love, My Way: CD
Hmmm…is this punk with neo-metal flavorings, or neo-metal heavily influenced by punk? Not sure, but most likely the former. Heavy and gruff, possible knuckle-dragging flavors. Some speedy stuff, but mostly not. Lots of mid-tempo. Sounds like yer being throttled by a gorilla. For some reason, to me it sounds like 76% Uncertain on horse steroids. If it were fifteen years ago, this would be on Revelation. I liked this quite a bit, but I never have anything coherent to say about bands such as this because I’m not an aficionado of such sounds. Sorry, guys… –The Lord Kveldulfr ()


MIDNIGHT CREEPS:
Singles/Splits/Demos/Live: CD + DVD
Contains, as the title suggests, various 7”s, demos, live stuff and their split with Capo Regime. They’re essentially a bar punk band—and are generally pretty good at it. But they’re also given to playing long dirge-rock tunes that sound as if they’re trying to exhume the ghosts off of some dusty Raw Power 8-track (see the slooow, guitar solo-riffic “Coffin of the Boston T,” etc.) that doesn’t really work. Generally, I could get behind a band like this (like I said, it’s pretty catchy) despite the fact that their songs have names like “Toilet Bowl Suicide” and “What the Twat Wants.” What ruins this band for me is the fact that the vocalist has an unfortunate tendency to sing in this deep, operatic voice that just comes across as A) really corny and B) like she wishes she was in another kind of band altogether. When she just screeches, the stuff’s generally pretty decent. The accompanying DVD features selections from some live shows in which said vocalist A) blows huge tendrils of snot out of her nose, B) disrobes down to bra and panties, C) sits on some fifteen-year-old kid’s face and orders him to guzzle the beer she’s positioned against her crotch. Also features a short film made by and starring the band called Menstrual Institution. It doesn’t really make any sense at all, but the terrible acting actually makes the movie more disturbing. The best part is when the guitarist dry-humps his teddy bear. This was one weird fucking band. –Keith Rosson (Rodent Popsicle)


MENZINGERS, THE:
A Lesson in the Abuse of Information Technology: CD
This wasn’t at all what I was expecting from a Go-Kart release, but I was mighty pleased after a few listens. The Menzingers have a sound that blends good old-fashioned punkness with the better aspects of (dare I say it?) mainstream alternative. I’m not entirely sure how that last sentence should be understood, but that’s what’s in my head. Some fast stuff here, some anthemic, and some slow; some sweet stuff, some bitter, and the band has upped the ante on the Clash’s “Straight to Hell.” This version is loud, loud, loud, and bitter in the way of the complete desperation after the cops kill your dog is bitter. I like this record. –The Lord Kveldulfr (Go-Kart)


MEASURE [SA], THE / O PIONEERS!!!::
Split: 7”
The Measure [SA] was issue #39’s cover band. I think I’ve figured out why I like them so much. They’re romantic in the original tradition. There’s a lot to lose. There are scars, decay, and destruction. Things are far from perfect, but the band’s fostered this innate, driving force to create beauty from the ruin. And The Measure [SA] remind me of that fact when so few other bands do. Great songs. O Pioneers!!!: Having been aware of their early material and now this, it’s more than a little disarming how they’re paralleling Against Me!’s song craft over time. It’s like OP!!! has spent all their songwriting time using a mirror (a duplicate image incapable of a unexpected move) and a microscope (scrutinizing a pre-existing song’s tiny components and hoping it to reveal “secrets”) of another band, instead of attempting much of an original vision. Flat-out weird, because, dudes, Against Me! already exists, people know about them, and you’ll always be beholden to them musically. Cloning doesn’t sound like a lot of fun to me. –Todd Taylor (Kiss Of Death)


McRAD / FRONTSIDE FIVE:
Split: CD
Frontside Five: Beach punk-sounding skate punk with some metal riffing that was like a mix of Pennywise meets the Stitches. McRad: Former pro skateboarder and one-time member of the Bad Brains, Chuck Treece’s musical on and off again, long-time music project. Feels as unfocused as the Bad Brains’ Build a Nation. Dub, punk, rock, and, I believe, ambient. –Donofthedead (Fivecore)


McRAD / FRONTSIDE FIVE:
50/50 Split: CD
I think it’s true that the smilin’ buddhas in charge of revmats at Razorcake must know what I like. I mean, it doesn’t take Santa Claus-like ability to know that I love skate rock, but it’s nice to know that someone out there at HQ knows it. Oh right... the review. Frontside Five kicks it off with their brand of crossover skate thrash that beats you senseless and leaves you for dead in the bottom of the pool. I swear that this band is like injecting pure adrenalin. This is skate rock! I was pretty stoked to hear some new stuff from McRad. For those who don’t know, McRad is one of the original purveyors of what became known as “skate rock” in the ‘80s. Appearing on Thrasher compilations as well as their own wax, McRad has always brought the thrash… Until now, that is. I really don’t know what to say. There is one song that I really like, but other than that there is some dub type stuff, a few live tracks from 1983, a radio interview, and some tracks with main man Chuck Treece playing with his kids (which is a cool concept in its own right, but not for this record). It just left me feeling let down. I do have to say that the Frontside Five tracks are more than worth picking this up, through. –Ty Stranglehold (Fivecore)


MANNEQUIN MEN:
“Private School” b/w “Sewers”: 7”
I’m imagining that every member of this band has a Mudhoney tattoo on one arm and a Led Zeppelin tattoo on the other. I’m also imagining that they received these tattoos incredibly late into a rainy October night while they were all attending a boot camp run by transvestite drill sergeants. If I’m wrong and these four guys don’t have those tattoos and never attended some homoerotic boot camp, one thing I’m sure is that these guys sure do know how to make some awesome rock music. –Daryl Gussin (Criminal IQ)


LUDICRA:
Fex Urbis, Lex Orbis: CD
Boy, talk about the goth calling the metal black! This shit is dark, slow, sad, and creepy. It’s got spooky, ethereal stuff going on, and yet it’s still metal as fuck. Like Neurosis but slower, it’s epic black metal without the juvenile trappings associated with this kinda music. If you’re in a bad mood, this is exactly what you need to enjoy it. –ben (Alternative Tentacles)


LOZEN:
Enemies against Power: CD
Lozen is an interesting new art rock duo from Tacoma. This album has a major Melvins influence, although it gets a bit too sludgy for comfort at times. The two women who make up the project call themselves Hozoji and Justice. They both sing, and I’m not sure how they perform live since Hozoji is credited with playing both guitar and bass. Alternatingly annoying and gripping, Enemies against Power is unique enough to warrant checking out. –Art Ettinger (Australian Cattle God)


LOUIS TULLY:
: 7”
Keyboards certainly have their place in punk rock. From the Screamers to the Spits, the significance of the keyboard must be acknowledged. However, for the most part, I’m not a big fan of keyboards in punk songs. Louis Tully is a good example of why. They play pretty decent Dag Nasty-ish anthemic punk, but with this fucking irritating keyboard that just totally sounds out of place and jars the songs apart like a paint scraper. If this band didn’t have a keyboard, they’d be great, but they do, so they aren’t. –ben (Repulsion)


LOUIS LINGG AND THE BOMBS:
Conspiracy: CDEP
International political pop punk fans of the world unite! I don’t know how many of you there are, but I think you’ll dig Louis Lingg And The Bombs. The Bombs hail from France. They cite U.S. history and they sound like they’re from Japan (only the Land of the Rising Sun could cook up a combination of the Ramones, Nine Inch Nails, and Shonen Knife). Then, in the midst of the Technicolor barrage—It’s Super Wakey Wakey Kool Aid Sponge Bath Party Fest time—there’s a forty-minute lecture on the Haymarket Affair by historian James Green. I don’t completely grasp Conspiracy but concede it uniqueness –Mike Faloon (Ultrasonar)


LEFTY LOOSIE:
100 Miles an Hour: CD
This reminds me of This Is My Fist a smidge, but double tempo and more charming. This is the first I’m hearing of this quartet from the rock I hide underneath and I like what I hear. Poppy but not in an “over-produced, sugary, and gross” way—more in a “dancing with a smile to the pop punk goodness as the rest of the house party spills beer on you” way. I also think the most valuable part of the band is in the lyrics, and thank the heavens this album has a lyric sheet. Fantastic. Hey, the bass player sported a Razorcake shirt for the layout photo shoot. Two extra punk points for her! –Mr. Z (Fast Crowd)


KOLOKOL:
Flammer og Farger: LP
There was a lot of controversy in the early part of the year about this release. I kind of forgot about it. It was a disagreement with the band and the label about the booklets. There was an agreement to have the glossy booklets printed in color. But the label decided to print it in black and white because the cost of the entire release would have made the sale price really expensive. So, according to the band, this version is not endorsed by them. So it’s a personal decision if you want to buy U.S. pressing on vinyl, produced under the circumstances stated above, or you can buy the CD that was put out by Sjakk Matt Plater out of Norway or the German LP pressing that just came out on Twisted Chords. I have read the debate and can understand both sides. It probably could have been handled differently so that both sides would have been satisfied. One thing is for certain: this band from Norway is amazing! The band plays a mixture of hardcore punk meets crust with hook-filled rock melodies. The songs are complex and well constructed. They are filled with a variety of textures and an intricately planned use of musical notes. Not average by any means. I like the clean production of this recording. The guitars are distorted but not overblown. The bass sound is smooth and punchy, played with skill and precision. The drums are holding the backbone of the musical experience while driving the notes of the music to forefront. But the contrast of vocals that are delivered with a convincing rage takes the music to a darker level. A truly epic release that should be sought out. –Donofthedead (Moo Cow)


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