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Record Reviews

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Crack the Safe: CD
If someone had told me twenty years ago that the next millennium would see a flood of bands who took the Clash, Stiff Little Fingers, and Social Distortion as their chief influences, I would have been elated. The Exploding Fuck Dolls have a great sound… almost too good. This is a band that toured as Deniz Tek’s backing group, eventually gave birth to U.S. Bombs, and featured a lead singer whose voice is such a dead ringer for Joe Strummer’s, the band should have been sued. And to think that when they started out in 1991, they looked like an unholy alliance between the Misfits and L.A. Guns. Crack the Safe is a collection of the band’s first seven years of action and is essential listening, especially for any less-than-fully-informed Rancid fan. Reading the liner notes is a bit disconcerting, considering the band’s intolerance for anything other than classic punk (the grunge scene irked them no end as is evidenced by the anti-Seattle screed “No Company Town”). Still, it pays to be focused, and on songs like “Satellite” (not the Pistols’ b-side), the anthem “American Bomb” and “Cheap Suits,” the band delivers the goods with relish. Like Sham 69, the Exploding Fuck Dolls probably inadvertently inspired a lot of knuckleheads, but whose fault is that? Crack the Safe is an excellent sampling of an excellent group, albeit one whose vision was often myopic and whose boots were caked in the mud of the past. –eric (Disaster)

Concrete Disappointment: LP
Spark. That’s what sets these guys apart from other bands trying to replicate the poppy side of ‘77 punk. There’s blood running through these songs and you can’t fake that, though literally thousands of bands have tried. What they’re doing isn’t necessarily new or groundbreaking, but they bounce and pogo all over the place and they force the listener to do the same. You don’t even have to wear striped shirts or white sunglasses to enjoy it. All you have to do is wait for those razor-sharp guitar hooks to slash its way into your brain (trust me, they will) and then you’re done for. I’m actually amazed that they’re not more popular. This is fantastic. –Josh (Dirtnap)

…Must Die: CD
This is the record that proves that the Dwarves are truly a renaissance band. While best known as the porno/horror show that kicks you in the nuts and bolts out the door in less than twenty minutes, people often forget the genius and talent involved. On this latest offering, Blag and company give us plenty of the punk rock adrenaline speedball that we have all come to expect, but there’s something else. We wind up with some surf, industrial, sugar pop and even some hip-hop(?!), all played well (although the jury is still out on Blag’s rapping). While …Must Die is kind of disjointed, every song stands on its own. They prove that they’re more than a one trick pony. They’re a band that has depth and diversity. Did I mention the Space Ghost cameo and the crucified midget? –Ty Stranglehold (Sympathy For The Record Industry)

Hootenanny: 7"
Moving away from their earlier and wholly uninspiring White Stripes clone job, this boy/girl duo is now adding enough wacky postproduction elements to the mix (i.e. multi-part surfy vocal harmony overdubs and such) that i think they might have started sounding more like a cross between Harper’s Bizarre and really early Meat Puppets—which, counterintuitively, seems to indicate that they’re “on the right track.” Be that as it may, the phrase “two-piece band” is beginning to invoke the same level of sheer terror in me that was previously reserved for the phrases “mature amateur” and “isn’t that an earwig?” BEST SONG: “Painted Right” BEST SONG TITLE: “Hootenanny”—shit, that would even make a good album title. FANTASTIC AMAZING TRIVIA FACT: One founding member of Harper’s Bizarre was Ted Templeman—who would later go on to produce all those Van Halen albums for Warner Brothers™. Whoopie ding! –Rev. Norb (Plastic Idol)

Learn to Let It Go: CD
Okay, here is an open call to all of you to have an open debate. The topic is emo and why I should like it. All of you that are fans, please show me your wisdom and ignite the candle of interest in me. Second topic is why this band does not have emo tendencies. I hear it in the music. Tell me why I shouldn’t think this as an emo sub-genre. To pick one side, I hear an H2O meets Bouncing Souls thing going. But on the other side of the debate there is that tuneless drone that I hear in emo releases that is unmistakable to these ears. Also, the pictures of tulips on the cover does not strike me as a punk rock subject to use in photography. So here it is. I am calling all you fools out to try and sway. Look in the magazine or website and find my contact information. Write me and tell me your position. I will respond. –Donofthedead (Law of Inertia)

Salamander: CD
Gloomy pop from a former Guided by Voices member. When he is at his best, he channels the essence of McCartney and the boys at their jangliest, and when he’s at his worst, he just cranks out some swell gloomy pop. While I would’ve liked some more oomph in the guitars in some spots just to make sure I was still paying attention, I gotta say, the brother can squeeze every last drop from a hook. –Jimmy Alvarado (Pink Frost)

And the Horse They Rode in on: CD
William Randolph Hearst once declared that a cover photo of a child, a dog, or a pretty girl was all he needed to sell newspapers. The Dollarstore Cowboys take this lesson to heart, slappin’ on their CD cover a young cowpoke vixen with her shorts zipped down just a inch shy of her snatch. Yeehaw! Although they unintentionally cribbed the album title from Soul Asylum, And the Horse They Rode in on is a rockin’ debut complete with the usual cowpunk accruements; the Tacoma, Washington band proudly boasts of their white trash (damn, this scene is in need of some new buzzwords) heritage, greasy hair, and allegiance to all things trashy and dumb. To their credit, they have their Eddie Cochran cum Stray Cats licks down pat (“How Long You Wanna Live Anyway?) and dutifully pay homage to the Man in Black (“Folsom Prison Blues”). Original tracks like “Off the Wagon” are reminiscent of the Supersuckers at their honky tonk best while “Bowling Alley Blitz” sounds like Zeke at half the speed. –eric (Infect)

Barking of the Dogs of War: CD
Some Portland punks opt for the traditional English-influenced anarcho-hardcore route and wind up with so-so results. They’re pretty much on the mark with recreating the sound, but their reliance on the oomPAHoomPAHoomPAH beat causes the songs to blend together into an uninteresting mush. Maybe next time. –Jimmy Alvarado (www.hardcoreholocaust.com)

Live Free or Die: CD
Jeez, Joey, what are you trying to do to us? Here you take some of the best DOA tracks to come out in decades, songs we were praying would one day come, get our hopes up high, and then bury them amongst a barrage of ska tunes? HORNS?!? That’s just plain cruel and unusual punishment, sir, and there are laws against that. You could’ve ditched all but one or two of the ska songs (if you really felt the need to include something with a Caribbean beat on here) and had one corker of a record, man. For those interested in procuring a copy of this, here’s my suggestion: set your player to play pretty much all the odd tracks and you’ve got a record that would fit nicely between War on 45 and Let’s Wreck the Party. Take it as a whole, you’re gonna understand what the phrase “the ecstasy and the agony” truly means. I guess it was no coincidence they nicked the riff for the song “39 Lashes” from Jesus Christ Superstar for one of the tunes here. –Jimmy Alvarado (Sudden Death)

Beat, Beat, Beat: Demo CD-R EP
A four-track, made-at-home new wave duo that’s much better that it sounds on paper (much like Altanta’s great one man new wave band, Derek Lyn Plastic) because for all the keyboards, stripes, goofy sunglasses, and good singing, they haven’t neglected the card often missing from the deck: songwriting. Catchy stuff that would fit right at home on the Valley Girl soundtrack. It’s a little bit sparser than the Minds, not quite as tumbling as the Epoxies, but a damn fine debut that a savvy record company (along the lines of Alien Snatch or Screaming Apple) would do well to put out. –Todd Taylor (The Divebomb Honey)

Mork Technology: CD
In the vast expanse of the Arizona desert, gila monsters bask in the blistering heat and lick their forked tongues along to electronic blips coming out of the shotgun shack of Digital Leather’s practice space. Okay, so Phoenix isn’t in the middle of nowhere like Yuma, but still I can romanticize it for your reading pleasure, can’t I? Digital Leather’s mixture of ‘80s Euro dance with minimalism and somewhat jagged pop sensibilities is a welcoming fresh breeze in an otherwise soggy, gross state of current ho-hum recordings being put out by meagerly talented drones who follow the formula of the MC5 plus the Hives plus obscure powerpop band reference plus Exploding Hearts equals SUCCESS! Yeah, right. I strongly caution that this recording does not follow any rules. The capricious dance beats, the ominous bass lines, the distorted and otherwise emotionally distant/empty vocals and the wall of cleverly mixed synth/keyboards (he plays a Korg) paint a landscape of deserts, UFOs, goosh, running from attackers, cocaine and sleep deprivation-induced hallucinations of women having sex in the other room, and a myriad of other paranoias that plague the teen-angsted within us all. This project features Ryan and Matt Wong, Jay Reatard, and some other luminaries from the underbelly of the garage rock world. Thumbs up, punker dude. –Guest Contributor (Fatal Seduction, email mwong55@earthlink.net)

Never Lucky: CD
In the interests of full disclosure, I have to fess up—the Devilheads sent me a pretty cool t-shirt along with their album. If some band thinks they’re going to influence my underpaid ass with some crappy shirt, well, I’ve got four large bins of concert shirts gathering dust in the attic, so forget that! But I think I’m going to wear this one until it turns gray like the others. The Devilheads, hailing from South Lake Tahoe, are one of the hottest three-piece psychobilly bands to come across my desk in a long time. To be completely fair, Never Lucky is hardly innovative. There are songs aplenty about drinkin’, drivin’, kissin’, pinchin’ and squeezin’. The album starts off with “Find a Way Home” which sounds like a b-side from the Reverend. And yeah, at their most polished moments, they have a tendency to sound a lot like the Stray Cats (“Gonna Be a Fight,” “So Far Away”). But then there’s tracks like “I Like You Better Drunk” which dispenses with the romance and kicks the album into high gear. Too bad they left that song to the very end. –eric (Self- released)

Di Nuovo in Marcia: CD
Average mid-tempo, melodic punk rock from Italy that is more fun if you are in the band than not. –Donofthedead (Derottten, no address)

Invisible Skin: 7" EP
This rules! A one-man punk rock explosion outta Atlanta! Kinda sounds like old Pelado records stuff, in the best way possible. Totally catchy, jump and up down ‘77 influenced punk rock! Records like these make me seriously question my current practice of only listening to the Marked Men! There is more music out there! And it rocks! I’ve already listened to this six times today! If this were a cereal, it’d be Fruit Loops. Hyper goodness! I love this record! Where’s the full-length, please? –Maddy (self-released)

Vampire City: CD
Ladies and gentlemen, look no further, the missing link between Dee Dee Ramone and Johnny Thunders has been found. –Jimmy Alvarado (Trash 2001)

Live at the El Cid, December 1976: CD
A live set from a proto-punk band who, if they weren’t from Detroit, should’ve been. KBD geeks will be all over this like ugly on a gorilla. –Jimmy Alvarado (Captain Trip)

Boner: CD
They look like Born Innocent-era Red Cross, they read like Shonen Knife, and they sound like an old punk band covering a new punk band. Dunno if I would recommend ‘em, per se, but they were entertaining. –Jimmy Alvarado (Finger)

Live at the Deaf Club: CD
Long before their nasty lawsuits and counter suits, the Dead Kennedys were once hailed as the closest thing the US ever had to the Sex Pistols, another band who at the end of the day was embroiled in one legal mess after another. Caustic political humor, an enigmatic frontman, and the ability to polarize audiences everywhere earned them a reputation as the flagship band of the West Coast. While they were never deemed to be a threat to the social fabric the way the Pistols were, the DKs decidedly kept themselves at arm’s length from some of the more meathead elements of punk rock. Listening to Live at the Deaf Club one is immediately impressed with the quality of the production, a rarity in live recordings of the time, let alone one taken from a 1979 punk show. The other thing that is striking is how musically competent the band was, standing in stark contrast to punk’s shortcomings, both real and perceived. At turns, Jello Biafra’s strained, otherworldly snarl is reminiscent of Lux Interior’s cartoonish caterwauling but more often than not is the sound of unadulterated and pointed rage. Interesting highlights include “Back in Rhodesia,” an early version of what would be re-written into “When You Get Drafted” and the previously unreleased “Gaslight.” Fans of the band’s b-sides will especially like hearing live versions of “Man with the Dogs,” “Police Truck,” and “Have I the Right.” –eric (Manifesto)

Holy Shiite: CD
At the age of fourteen I discovered a band that embodied all that I thought was punk. Their Feed Us a Fetus record taught me that it’s good to be pissed off but you better be having fun too. I’ve been caught screaming along to “Aargh, Fuck, Kill,” “Proud to Be Canadian,” or “Kill the Hosers” more times than I care to remember. I’ve always felt that they’ve never been able to reclaim the feeling of those first two records. I had almost lost hope that the boys might have another classic in them. That said, I feel that this is the record that the Dayglo Abortions have been striving to make. After decades of trying to successfully bond their love of punk and metal, they’ve finally found the right mix and it’s called Holy Shiite. DGA is one of those bands that everyone knows. If you haven’t heard them, you’ve heard of them. If you live in Canada, chances are that you’ve seen them play dozens of times. Always guaranteed to shock and horrify. For those who truly don’t know, think The Mentors or The Meatmen drinking stronger beer. The record has everything you need to enjoy DGA. First, you have songs about stuff that pisses them off (“America Eats Her Young,” “Scientology”), and then you have songs about stuff that they like (“Let’s Get Drunk,” “Surfer Girl”). You also get songs to make you laugh (“Christina Bin Laden,” “Release the Hostages”) and songs that just plain rock (“How Low Will You Go?” “PUNK SONG”). They also end the CD with their credo, “Fuck the Word (If They Can’t Take a Joke).” It’s the music that makes this one, though. From breakneck speed to heavy, Sabbath-esque dirges, the band is tight. The duelling of Cretin’s unmistakably blown-out voice (he is Canada’s Lemmy) and Gymbo’s beefy vocals really works. Jesus Bonehead and Willy Jak are a solid back line. Love or hate them, they deserve credit for spending the last twenty-five plus years flying the flag of Canadian punk and hardcore. This record has them poised to contaminate yet another generation. I think I’ll go give a copy of this to my fourteen-year-old cousin. –Ty Stranglehold (www.godrecords.com)

Watch It Cave In: CD
They put it out there, so I’ll tell you now: this band is religious. No matter to me, because I enjoyed damn near every song on this great first release by this SoCal trio. I happen to be a huge fan of All, so I could hear the similarity immediately—but the sound on this EP was all their own. Open your ears to this band. JasonK –Guest Contributor (Basement)

No Salvation: CD
I guess this is Australia’s answer to Coheed and Cambria. Good or bad? If you are a fan of my reference, good. If you are like me, and think this is bad—it’s like having itching powder on your butthole and you can’t take it. –Donofthedead (MGM)

Shake If You Got It: CD
This record got panned last issue, so I want to drop in my two cents worth. First off, let me say that I have a great deal of respect for the Razorcake reviewers, particularly the two who reviewed this record. Still, I respectfully disagree. It’s true that The Cinch are indie rockers. They’re probably the favorite band of some skinny, effeminite, lonely guy who wears ironic thrift store t-shirts and works at the college radio station and wonders why no one loves music the way he does. And there are hints of Brit Pop. And it’s nothing like what you’ve come to love about Dirtnap Records. I can understand why someone would pop this into the CD player and expect the wild Epoxies/Minds/Ends punk rock that Dirtnap is known for, and be bummed to find that they’re listening to indie rock. I had that experience myself. On repeated listens—and, believe me, The Cinch are getting repeated listens—you get over that initial reaction and come to love this. Imagine an amped-up Holly Golightly or a more straightforward Sleater-Kinney and you’re somewhere in the ballpark of The Cinch. Tight melodies, full guitars, and haunting vocals. It’s not what I normally listen to, but I’m listening to it normally, and I really dig it. –Sean Carswell (Dirtnap)

Suggested for Mature Audiences: LP
Upon initial contact, i was a bit bewildered as to whether it’s Punk “Chronic” as in “Chronic Disorder” and “Chron-Gen,” or if it’s more at stoner “Chronic” like “Bluntman & Chronic.” After moderate inspection, the jury’s still out on that. Adding to the enormity of the enigma, had you placed this record upon my turntable without allowing me sufficient time to peruse the liner notes, then gave me three guesses to nail the band’s point of origin, even if you spotted me the fact that they’re not from the US, i’d guess 1. Australia (‘cause they remind of Radio Birdman [rhythm section, song structure] and the Saints a bit [leads, general atmosphere, they even do a song called “Wild About Me” which appears to be at least partially derived from “Wild About You,” which the Saints covered on their first album]) followed by 2. New Zealand (‘cause it’s close to #1 and they also remind me a little bit of the Lime Spiders), and 3. Quebec (‘cause they remind me a bit of Smash Up Derby and also ‘cause i’d be grasping at straws at that point in time), and, as the Fastbacks once said, i would be WRONG WRONG WRONG. They actually hail from Bologna, Italy. Huh. I don’t even think that woulda been in my top ten guesses (but, then again, i think i only know the names of like ten different countries, so who knows? Even a blind chicken gets a kernel of corn if he keeps peckin’ long enough). Not a bad Rock Album at all; the pointless cover of “TV Eye” gets neutralized by a pointful cover of “Mama, Keep Your Big Mouth Shut.” Surely the regaining of the papacy is imminent for our boot-shaped European pals! BEST SONG: “Get Out of My Way” BEST SONG TITLE: “Wild About Me” FANTASTIC AMAZING TRIVIA FACT: I believe that “Wild About You” was originally performed by the Missing Links, though i seem to recall seeing it credited to a band called “The Unknowns” once, which would make sense, seeing as how the songwriting credit on (I’m) Stranded is attributed to “Unknown”—which might be a stage name if you think about it (which i’m sure you are, deeply). –Rev. Norb (Demolition Derby)

Addiction.2: CD
A reissue of this band’s second album, originally released in the late ‘90s when they were in “reunion” mode. Despite a nearly twenty year gap in recordings, they managed to maintain the song quality between records, with the re-recordings of songs from the first record kept to a minimum, and Frank’s guitar playing still managing to raise a few eyebrows. Also included are some unreleased tracks and a set from one of their more recent live performances. –Jimmy Alvarado (Malt Soda)

Government Job: 7"
What I wasn’t expecting was such clear enunciation by the lead singer, Generic Christ. You can actually understand everything he says. Elocution’s a pretty much forgotten element in hardcore and thrash. (Which is weird because most of these bands tend to have “a message.”) These Pittsburghians got reassembled from the pieces of Aus Rotten and the Pist, if I’m not mistaken. Imagine super early Corrosion of Conformity (highly political, pretty well informed and well-intentioned, if a little blunt) mixed in with lots-of-studs-in-jacket Swedish thrash along the lines of Skitsystem (especially the galloping drums and bass kegcharge) and mix in that take-it-as-fast-as-you-can-but-don’t-lose-the-melody talent of Vitamin X, and you’re on the right path. While I’m not completely agog, they’re definitely tight, teeth baring, and leave a nice bruise mark. One question: is that an otter being hung on the ceiling fan on the cover? Looks like it. –Todd Taylor (Havoc)

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