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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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Below are some recently posted reviews.

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VARIOUS ARTISTS:
Gnarly Dude 2!: CD

Considering many of the bands’ obsession with a certain kind of board with little wheels attached, I’m guessin’ this is a skater punk comp. Most of the stuff on it ain’t particularly interesting, with liberal doses of modern metal and techno splattered here and there, but it was nice to see the name McRad on a comp once more and hear the Faction’s “Skate and Destroy” again, even if they are identified here as “The Fraction.” In short, “eh” is about all I’m able to muster from this.

–Jimmy Alvarado (www.voltagerecords.com)


ULTRAMAN:
The Constant Weight of Zero: CD
In the spirit of full disclosure, Tim Jamison, the lead singer of Ultraman, has written columns for razorcake.com, I’ve skated with him when he’s flown out from St. Louis, and, yeah, there’s bias. Ultraman’s been around since the days of Black Flag, owes equal measure to the first wave of American hardcore (Flag of Democracy, Minor Threat) and the second wave of more melodic hardcore (Bad Religion, Sick Of It All). It’s not a rote transcription; more of a long distillation and coming to healthy grips of being a much older band with a different worldview: naiveté hardening into the pragmatic determination of families, kids, houses, and getting old while still believing in punk, that type of thing. Much like The Crowd’s , and The Descendents’ , the band forges a new chapter instead of trying to merely re-tool or just revisit previous successes. There are several standout tracks, like “Decision” and “Fall,” that are so good that you can’t help thinking that if the roulette of time and place was different that these guys would be on the tip of more folks’ tongues. That said, the CD’s extremely generous in that there’s thirteen new tracks, plus five tracks from a previous band (of which all members of Ultraman were in at one time or another), and video footage. Glad to have this in my collection. –Todd Taylor (New Red Archives)


U. UTAH PHILLIPS:
Starlight on the Rails: A Songbook: AK Press
This is a small sample of the huge collection AK Press is putting together. When fully released, it’s going to be four CDs and a booklet. And almost forty bucks. I like Utah Phillips, and it’s interesting to hear the explanations before each song, but for repeated listening, the format of explanation followed by song gets tedious and would work better separated onto separate disks so you can enjoy the music alone. –Megan Pants (CD)


TYRADES:
On Your Video: 7”
Don’t the Tyrades have three albums worth of singles now? Fuck CDs. One of the few bands putting out songs today you would mistake for the old glory days. Maybe we’re in the good old days now. Jenny Tyrade for mayor. –Staff (SmartGuy)


TREIOPS TREYFID:
Feelings of Unreality: CD

Third solo release from ex-member of DC art rockers Pitchblende. Definitely out of the ordinary—each song sometimes sounds like a different artist. But somehow it all holds together with excellent results. “What Can I Do But Continue” reminds me of Magazine at their peak as Treiops sings about his life falling apart—“Guano building up on the bathroom sill/bats flying round my apartment/mice in the broiler pan.” “Her Stories Wrote Themselves” is a slow, meditative song that features some nice guitar strumming with some bongos in the background. This is about a dream the singer had and Mark Harmon shows up. Pretty scary! “Rolling Blackout” is a cool song that for some reason sounds like a cross between Peter Murphy and early (good) Lou Reed. Treiops sings in the chorus, “Which big band do you believe in?/The alternate path I go down and down again/walking towards the door/many years ago it was so old.” Feelings of Unreality is a challenging, remarkably innovative work that begs repeated playbacks for everything to sink into your cranium. Once it’s there it won’t be easily dislodged. Especially track nine.

–Sean Koepenick (Postfact)


TRACK THE CURSE:
The New Land: CD
Death metal mayhem from Sam Williams III (Down By Law, Pseudo Heroes), Paul Pavlovich (ex-Assuck), TJ Weeks, and the mysterious Sinestro. This release tunes up with an instrumental entitled “Trudge of the Dammed” that would sound perfect on a Land of the Lost episode. “Dim Enclosure” (first heard on the Global Probing compilation) rocks—hard. Sam and Paul trade off vocals on most tracks. Two songs feature co-vocals: “SerpentineCity” and “Undividual.” Not all the tunes are full-on thrash, however. “Mannequin” and “Empty Man” sound like roughed up Pseudo Heroes songs. There are even some pleasant keyboard flourishes that Monty Oxymoron would love. Each song is bolstered by the potent one-two punch of the rhythm section. Fans of Killing Joke or Slayer should seek this out and glue it to your windshield so mere mortals will fear Track The Curse. –Sean Koepenick (Spins Good/1-2-3)


TOM FOOLERY AND THE MISTAKES:
Fatter of Mact: CD
Ooh, not good. Kind of expected zany, but got boring college… oh shit, is that a vibraphone?! Yeah. –Megan Pants (Colossal Thumb)


TOKYO ELECTRON:
Will Put a Charge in You: 7”
More of a chunky garage sound than Ryan Wong’s other genius output as Destruction Unit, and closer to the D Unit 7” than the full-length. Catchy, loud, and fun. A great addition to your Reatard completist collection, of which I can’t get enough. –Speedway Randy (Shattered, www.geocities.com/shatteredrecs)


THREE MINUTE MOVIE/ANNALISE:
Split: 7”
Three Minute Movie are my favorite Snuffy Smile band. They take the best of Leatherface and the Replacements, run it through their Firestarter filters, and come out with two more gems on one side of this slab. Annalise have a tough act to follow, but they’re up to the task. Their two songs are interesting: the vocals sound like an oi band but the music is more melodic hardcore and the wild drums damn near steal the show. Put it all together and the songs shouldn’t work at all, but strangely, they rock. –Sean Carswell (Snuffy Smile)


THESE LIES:
More Than They: CD
This is some nice, snotty young street punk from Massachusetts. It's only seven songs, hence the "Pay no more than $5.99" warning written almost bigger than the band's name on the cover, which is a nice touch. Musically, it's pretty standard mohawk-and-bulletbelt fare. I hear a little oi in there too. The vocals are fuckin’ awesome. They kinda make this record, which could've used less fancy production if you ask me. I like this, but I think with a few minor changes I could love it. Oh, and the last song just straight up sounds like Rancid. There's even a picture of them driving around in an old car and everything. –ben (Rodent Popsicle)


TERRIBLES, LES:
Self-titled: CD
If i ever own a bar, it's gonna be called "The Purple Pussycat" and at least half the jukebox is gonna be songs sung in French, unless i open up the bar in France, in which case the only song on the jukebox is going to be that German drinking song "Norbert, Norbert, Oi Oi Oi," for obvious reasons. I mean, who wants stock the juke with trite, over-hashed chestnuts such as "I Can Only Give You Everything" and "All Day and All of the Night" sung in plain ol' English, when, with the judicious application of a little Les Terribles, one can stock it with just-hashed-enough French language versions of the same (to say nothing of "Rosbeef Attack," which has no language at all, save the universal linguii of both ROCK and MEAT)?? Be-wigged French beatsters, take note! Follow in the Beatle-booted footsteps of Les Terribles, and let French be your lingua franca! I mean, the math is THERE, people, the math is THERE! BEST SONG: "Debby Merci" BEST SONG TITLE: "Rosbeef Attack" FANTASTIC AMAZING TRIVIA FACT: I met Iwan. –Rev. Norb (Dionysus)


TEDDYBOYS FROM THE CRYPT:
Self-titled: 7” EP
Retro-‘60s fuzz punk from Greece. Kinda reminds me a little of the Gravedigger V on downers. Pretty good at what they do, I’ll give ’em that. –Jimmy Alvarado (Tassos Palaiologos)


SUSPICIONS, THE:
We: 7" 45
Sounds like a tinny, mildly incompetent version of Nikki & The Corvettes tracks not about overt kitsch, or maybe like if the Spastics' first 45 was an attempt at sounding like the songs off of Modern Kicks. Worth owning but not worth busting a nut looking for. BEST SONG: "We're All Wrong" BEST BOARD GAME: "Memory," but only the version where some are the tiles are from House Of Cards by Eames. FANTASTIC AMAZING TRIVIA FACTS: 1. 45 sleeve does not directly bear the band's name—a round orange sticker reading "THE SUSPICIONS" is affixed to the otherwise wordless front cover; 2. The font used is CA KissKissBangBang, the same font i used for the Razorcake cover i did a while ago. –Rev. Norb (Nerve Wracking)


SUGAR EATER:
American Idle: CD
On the whole, a fairly uninteresting six minutes wasted on faux-snotty, smart aleck punk and a limp (no pun intended) cover of the Circle Jerks’ “Operation.” That said, let me say that if you’re in a so-called “punk” band and you feel the need to do a “clean” version of one of your songs, especially when the bass player goes by the first name “Fellatio,” then you really need to reassess your involvement in this punk thing, ’cause it’s painfully obvious you just don’t get it. –Jimmy Alvarado (Eyephat)


STRAIGHTJACKET:
Enemy b/w 30+ Years: 7”
Surely played, pleasant ‘77 punk. The band plays like veterans (think Subversives, The Murders), and although not burning down any new barns (it’s more like a pilot light that never went out, and can heat up, depending on the situation), they’ve got the art of melodies and backups down, the guitarists do nice little flourishes to keep the standardization at bay, and the two songs switch up vocalists. They’re definitely aware of the template and its limitations, but they’re also confidently pushing at its boundaries and playing to its strengths. This could have easily come out on a Hostage comp. Satisfying. –Todd Taylor (Jonny Cat)


STIV BATORS:
Disconnected: CD
In honor of Mr. Bators, who served posthumously and well as my fanzine's Math Editor back in The Day, i'll put things mathematically: There are 14 Stiv Bators tracks that you need to own. 9 of them compose "Disconnected," the punk-pop solo album released contemporaneously with the Dead Boys' demise. 5 of them—"Circumstantial Evidence," "I'll Be All Right," "Not That Way Anymore," his cover of the Choir's "It's Cold Outside" and the 45 version of "The Last Year"—were exclusive to singles. To not possess each and every one of said 14 tracks is an affront most grievous; to possess anything Stiv-credited above and beyond the previously mentioned Big 14 is a superfluous indulgence reserved for fops, dandies, and repeat snake oil consumers. I did not buy Disconnected upon initial release, as, if you’ll cross-check the math, it was a power-pop (“punk-pop” perhaps more accurate a hyphenate) album with nine songs. What the fuck kinda power pop album has only NINE songs on it? That’s right! The kinda power pop album i don’t buy! I mean, everybody knows that power pop albums have twelve songs on them. That is a rule of some sort. To fuck with the 12-count Golden Mean O’ Power Pop is to court disaster, or, worse yet, the withholdal of currency! (now, okay: One might think one has a leg to stand on in defense of the three-songs-light lid of Disconnected by pointing out that punk albums are supposed to have fourteen songs on them, but Stiv’s old band, the Dead Boys, who were punk, only put ten songs on each of their albums, and that therefore 9 < 12 in the same way that 10 < 14 so it’s all good, but i refute this backpedaling jive by pointing out that the Dead Boys only put ten songs on their albums because that’s what ROCK bands did, and the Dead Boys thought they were ROCK. At no point in time could power pop confuse itself with a nine-song-per-album type genre, if such a thing even exists [and, if it does, like, who cares?]). So, anyway, yeah, i never bought it when it came out the first time. A few years later, some French label came out with a Stiv album called The Lord and the New Creatures which was the 9 Disconnected songs + the 5 songs exclusive to singles = all 14 of the necessary solo Stiv sub-objects. THAT is what you should buy, if they still make it. I mean, i will admit that it was a bit of a shock to the system to hear that first Stiv Bators 45 (“It’s Cold Outside” b/w “The Last Year”) in ‘79, and see Our Hero go from leather-licking King of the Jackals to blouse-wearing Gelding Prince in one quick and decisive Pop Gambit—but, despite sounding like a cross between the Stiv we all knew (and, counterintuitively, loved) and Laurie Records, the Searchers vs. Byrds vs. Dead Boys charms of the real early Stiv solo stuff cannot be denied (i dutifully point out that by the time Disconnected had rolled out, things had regressed to the mean a bit, and were sounding a bit more like Dead Boys vs. Nuggets than Dead Boys vs. Searchers/Byrds). Which, of course, brings me back to the task at hand: Reviewing Disconnected. Well, HA! I CAN’T! I can’t disconnect Disconnected from the full fourteen-song mass of Relevant Stiv material; to me, it sounds like 9/14ths of a classic album. Oh, sure, Disconnected, understocked as it is, is worth owning IF, by cruel marketplace realities, you have no recourse to The Lord and the New Creatures, but, i mean, to me, Disconnected is like taking “Judy Is a Punk,” “I Wanna Be Your Boyfriend,” “Loudmouth,” “Let’s Dance,” and “Listen to My Heart” off the first Ramones album, then trying to pretend nothing is amiss (although i will admit that ending Disconnected with “I Wanna Forget You (Just The Way You Are)” makes more sense than the sequencing on Lord, which ended each side with a version of “The Last Year,” which sorta makes sense too). This is the second time Bomp! has reissued Disconnected on CD, and also the second time they padded it out with essentially irrelevant bonus cuts in lieu of the 5 songs i consider to be part ‘n’ parcel of the Stiv experience. Of course, as with the last reissue, the five songs are available—padded out with even more irrelevant bonus material on a second album, meaning that you, tragic figure, have to buy 2 albums, then play the first 9 songs off the first one and the first 5 songs off the second one in order to replicate the effects of The One True Stiv Thing, The Lord and the New Creatures. Might i suggest you riot? BEST SONG: “Evil Boy” BEST SONG TITLE: “Evil Boy” FANTASTIC AMAZING TRIVIA FACT: The live version of the Syndicate of Sound’s “Hey Little Girl” on this reissue is a different live version of the Syndicate of Sound’s “Hey Little Girl” than the one that appeared on the Disconnected reissue from the ‘90s—and, of course, both are totally different than the live version of the Syndicate of Sound’s “Hey Little Girl” that was on the first Dead Boys album. Whoopee ding. –Rev. Norb (Bomp!; www.bomp.com)


YUPPIE PRICKS:
Brokers Banquet: CD

Wild, sloppy, out of control punk rock that will make you reflect on life’s complexities (once you stop laughing, that is). No one is safe from the pricks unbridled fury. The Governator gets skewered on “Hummer in My Hummer” and how can you go wrong with lines like this from “Rich Bitch”—“if you can’t at least afford Gucci/you’ll get snubbed more than Susan Lucci.” Other weighty topics include sex, drugs, rich fat cats, and more sex. Sometimes the vocals veer a little too close to Jello Biafra territory. But that seems to be okay since it’s on his label and he even does a guest vocal on “Damn It Feels Good to be a Yuppie.” “New Rolls” will probably sound fairly familiar to you, too. The Yuppie Pricks are passing the champagne over, so drink up.

–Sean Koepenick (Alternative Tentacles)


STATUES:
Aux: CD

Three-piece from Ontario, Canada, this record is a re-release from 2004. Taut rhythms, grinding guitar parts, and melodic vocals make this a real treat for my bored ears. Think of Joe Jackson (without the wimpy piano) fronting The Plimsouls and you’ll begin to get the idea. “Barstool” mentions something about flying beer bottles and “Step Up”’s infectious chords will spread through your bloodstream like a viral infection. “Signals” also completely rocks. Aux wraps up with “There Are Things I Think You Should Know,” which is hard to say ten times fast. If you can’t find your Thin Lizzy vinyl at your next late night pops party, this will do the trick. Too bad they left The Flock Of Seagulls cover off this platter. Maybe that and “The Great White North” on the next one.

–Sean Koepenick (Pelado)


STATIC AGE, THE:
Neon Nights Electric Lives: CD
When I was but a young punk, nothing worked to impress all the young punkettes like showing your “emotional” side. This consisted of throwing on a Cure or Joy Division record. “See, I can be sensitive too… now gimmie some sugar!” The truth is, I really quite enjoy those bands and there are certain times in my life when no other band will do. Yup, I can admit it. This brings us to the Static Age. I was really hoping for some kind of Misfits type thing but no such luck. If I didn’t know better, I’d swear that this was released in 1985 or ‘86. Heartfelt tunes with piano and bad synth. It’s not that it’s terrible, just that it’s been done before and so much better. Blandness personified. I can’t see this record getting teenage punks laid. If I want quality emotion in my rock, I’ll listen to Leatherface again. I just can’t say the same for this. –Ty Stranglehold (Tarantulas)


SQUARE THE CIRCLE:
Self-titled: 7"
If there's one thing that the Japanese know, it's how to make a good hardcore record. Square the Circle are from Tokyo and they play really tight thrash a la Tear It Up or What Happens Next. I hesitate to compare them to Japanese contemporaries like Total Fury, ‘cause they kinda rock harder than that. Think Nothing to Nothing by Tear it Up but gnarlier and dirtier. Oh, and the lyrics are fucking hilarious: "Wanna be a queen? The pose of hick when a happy in the day." Maybe it's wrong of me to make fun of their English since I can't speak Japanese, but, then again, I'm not trying to write songs in Japanese and put them out on a record, either. Regardless, this record is great! –ben (Kangaroo)


SPINNING HEADS:
Change the Game: LP
"Fuck, this is good!" I actually said that out loud to nobody when I was listening to this record. It's brutal, heavy hardcore with a real metally edge. You know how you'll listen to Dillinger Escape Plan and think, "Wow, this band would be really good if they'd quit showing off and just rock." That's sorta what this band sounds like. Excellent production and songwriting alike, I never got bored during any song. I'm surprised they're from France, but that just makes them that much cooler. If I was gonna listen to something to get pumped up for a lawnmower race, I'd listen to this. –ben (Sedition)


SOLE:
Live from Rome: CD
Politically conscious rap from a guy who doesn’t spend too much time bothering to rhyme. He’s got a nice flow, but the resulting tunes are nothing to write home about. –Jimmy Alvarado (anticon.com)


SNUFF:
Six of One, Half a Dozen of the Other 1986-2002: 2 X CD
For some reason, and I’m not quite sure, but I often forget how great Snuff can be. They’re cheeky Brits with a weird sense of humor (just look at the fuckin’ names of their albums: Demmamussabebonk? Flibbiddydibiddydob?), a longtime love of Vespas and Lambrettas, and the uncanny knack to be utterly silly yet still pull out some seriously great punk rock at the same time. It’s sometimes hard to get the pulse if they’re just that cursory and talented (let’s fuck around and play ping pong for days in the studio and cut six tracks without overdubs at the last minute, or so the story goes), or if there’s a pattern to their functional dysfunction. Snuff comes from the hairy, incestuous school of British punk that commingled and merged with Leatherface (powerful, soulful, gritty) and Wat Tyler (who have songs about Smurf sex). Well, I know this for sure, if you’ve ever liked Snuff or if you’d like an intro to a prolific band, this collection’s like a deep-sea dragnet. Washing machines get pulled up with the fish. You get many gems, some dogs; tastes will vary. The first CD is all previously released stuff that’s reasonably easy to get, but spread out over sixteen years and numerous albums. The second CD’s all more obscure: b-sides, comp tracks, tour-only releases, unreleased tracks, and ends with a trippy dub track that underscores the fact that Duncan (drummer, lead singer: same setup as The Carpenters) smokes a lot of weed. When all’s said and done, Snuff is melodic punk done right. My favorite stuff’s still the songs with the horns and organs from Potatoes and Melons at Wholesale Prices Straight from the Lockup. –Todd Taylor (Fat)


SMOKE OR FIRE:
Above the City: CD
There’s a perishability quotient involved with gruff, melodic, socially conscious punk. Many bands have found and explored the hallmarks: the understated poetics of Leatherface, the soaring jet fighters high in the sky guitars of Hot Water Music, the riot of anthems of Strike Anywhere, the hidden complexity presented through mugs of beer of the Tim Version, the playful seriousness of The Grabass Charlestons. There’s actually a pool of bands that stand comfortably in those waters, and although very good, don’t warrant extra spins. At first, I was just okay with Smoke or Fire. The vocals seemed just a hair too processed. Several of the songs blended together. But then I started to realize that the CD wasn’t going out of rotation. And then—here’s when I know a band’s got me, because I listen to so much music on a continual basis—I was humming one of their lines while shampooing in the shower. Ever since the first couple of listens, I’ve taken this CD on trips through three states, it works well both in traffic jams and wide open spaces, and all the little bits that first bothered me have disappeared. They remind me of a mix between Avail and early Explosion: catchy, sincere, and a full body experience (head, chest, and legs are all affected), and that’s pretty darn good for a debut. –Todd Taylor (Fat)


SMOKE OR FIRE:
Above the City: CD
So I had heard that this was Jericho’s first release for Fat but had to change their name because a ‘70s Christian rock band originally had the name. I wonder if it would have been worth it to contact the old band and had a tournament of dodgeball, drunk bowling, and marbles. Winner gets the name. I never heard Jericho’s music before. If I did, I don’t remember. I can’t just make this stuff up. I have to actually listen to this. So the singer sounds like Justin Sane from Anti-Flag. The music sounds like water balloon fight between Rise Against and Hot Water Music. Not a bad combination and a worthy addition to the Fat family. This release will definitely get a few more rotations on the player. –Donofthedead (Fat)


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