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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
Razorcake Ouija Slip Mat
Nights and Days in a Dark Carnival by Craven Rock


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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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REPLICATOR:
Machines Will Always Let You Down: CD
For the sake of being totally up front with things, I have known Conan Neutron, the singer/guitarist of Replicator, for about six years now via the interweb. Now that we’re past that, I can tell you what I think of this album. From Oakland, California, Replicator has a number of full-lengths and EPs out and has been around for over seven years. This release has ten songs clocking in at near thirty-seven minutes. The album was recorded by one Vern Rumsey, formerly of the band Unwound. And speaking of Unwound, there are definitely influences from them, as well as Shellac (Bob Weston recorded a previous Replicator album), Brainiac, Frodus, and a whole host of other bands. Occasionally, samples and keyboards are used. Vocals are sung and shouted from two different singers, both of whom have the amazing ability to deliver their lines with (I’m guessing) a straight face. Take, for instance, this line from “Fashionably Latent”: “If I were to travel back in time, fashion would be a main concern of mine.” Or, from the same song: “It’s like a Surrealist painting; the kind with a giant penis serving tea to dainty old ladies.” Using that sense of humor, the band seems to primarily focus on technology, hence the title, although other subjects are covered as well, including not giving up, being owned, and King Shit of FuckMountain. The energy and sense of fun from their live show (which is quite good, I might add) definitely comes across on the recording, which is a rare thing to find. The technological focus of the band serves to match up well with the style they play. It’s as though, in my mind, I can picture an alternate reality where the members of Replicator are the last human beings left on an earth that has become ruled by cyborgs. This may be the music that could start the revolution. I guess we can’t say we weren’t warned. –Kurt Morris (Radio Is Down)


REGRES:
W Naszych Dłoniach: CD
Regres is a positive hardcore band from Poland that favors mainline New York hardcore styles of the ‘80s. The fact that the lyrics are in Polish adds to the interest factor, and each track is a tight burst of fast energy. There are very few tempo changes or stomp around breakdowns, with the focus being on speed. The cover illustration of a kneeling, introspective kid is a neat piece of hardcore artwork, and the lyric sheet includes English translations of the lyrics. –Art Ettinger (Refuse)


RED RED RED:
Mind Destroyer: CD
Low-fi, fuzzed-out, garage rock. They sound like the Swing Ding Amigos, but without the weird little psychedelic flourishes… or maybe the Riverboat Gamblers without a recording budget. –Adrian (Big Neck)


REAGAN SS:
Universal and Triumphant: LP
It takes a lot for hardcore to make the seasoned listener breathless because those of us who’ve been around for a bit know how the ride goes. Reagan SS knows, too, and they up the ante by literally clenching the listener and whisper-screaming directly into their ear holes. I swear, I can feel my heart constrict, my eyes bulge, my teeth grit, and my knuckles itch every time I put this record on… and I know what’s going to happen, how it plays. Not only is Matt Average singing about an anxious world, the entire band’s capturing the listener into it, netting that anxiety, controlling the space. And I have to take my hat off to the band for the long-ass track that opens up the B-side (I think it’s “Primo,” if I counted the tracks on the vinyl right.) It’s the musical equivalent of watching bulldozers slowly level mountains of trash, and that underscores two things: 1.) Power can be short, quick jabs. It can also be built through ratcheting tension, that want of release, that slow build and instantaneous leveling in an avalanche. (Something that Fucked Up’s Hidden World underscores.) 2.) Fuck expectations. Bands, take note. Build music for yourself, grow, and let your vision guide you, even if it’s “out of bounds,” even if it’s far left field and “confuses the scene.” In the end, you only gotta live with yourself. Great record. Highly recommended. –Todd Taylor (Rebel Sounds)


REACTION, THE / THE NEVERENDING PARTY: Split 7" EP:
Split: 7" EP
The Reaction features Wade from 50 Million, an awesome band at one time, on guitar and vocals. It’s a nice throwback to the old school with classic rock riffage and all the dinge and dirge of a solid basement band. Track one, “Unbelievable,” has a nice Replacements feel to it, and track two, “Stitches,” which features the bass player on vocals, reminds me of the Avengers. Tight for a first release. The Neverending Party features Nate from Bent Outta Shape. Solid rocking two songs here. Track one, “Can’t Give You a Thing,” sounds like MC5. Second track, called “Alice,” is another straight up rocker. Liked both bands here, good split, but I think The Reaction are more to my liking. –Dave Disorder (Thrillhouse)


REACTION, THE / NEVERENDING PARTY:
Split: 7” EP
The Reaction: The fact that it sounded like they funneled the recording through a six-foot piece of PVC tubing didn’t really help them to elicit any reaction whatsoever. Neverending Party: Both songs reminded me a little of the Dicks, which is always a good thing. Loud, raw—but not Marshall-laden—guitars, strong tempos, and they know not to overstay their welcome. Neverending Party win this round. –Jimmy Alvarado (Thrillhouse)


RAZOR BOIS:
Summer 2007 Demo: CD-R
Nazi-hating skinheads from Moscow. It’s well-executed, fast street punk stuff from three guys who definitely don’t like fascists, cops, and people in cliques. Apparently comes with a video, but I couldn’t get it to play on my computer. Note to band: Guys, your six-songer was actually pretty good, but I’ve gotta tell you that it just doesn’t carry as much weight when you rant about people being sexist and macho while simultaneously referring to them as bitches. Other than that, you’re golden. –Keith Rosson (Boycott The Fencewalkers)


RAIN:
La Vache Qui Rit: CD
I’ve made my hatred of emo no secret, but I have in recent years conceded that maybe its earliest adherents weren’t exactly the pox on punk I initially thought they were, and Rain reinforces that newfound attitude. Featuring former members of Youth Brigade (DC) and Gray Matter, to name a few, this EP, originally recorded in 1987 and released in 1990, is drenched in the melding of post punk and hardcore that gave Washington DC’s “Revolution Summer” group of bands that distinct sound—a mixture of Wire, Gang of Four, reggae’s loping bass lines, and the off-kilter thrash of bands like Faith, Minor Threat, and Deadline. Unlike the vast bulk of millions of lesser bands that followed, however, the “punk” aspect is never lost amongst the artier aspects of what’s going on, giving the music an immediacy and the necessary “edge” to vault the music past “pretentious noodling” and into the “music as catharsis” camp. I may still hate emo as much as I do cauliflower, but this is some pretty fine listenin’. –Jimmy Alvarado (Peterbilt)


PUSH-PULL:
3: CDEP
Coarse, scratchy rock in the vein of Big Black. I wouldn’t sell my copy of Hammer Party to get this, but it’s decent. “Sanford Eubanks” is the best song on here. “Union Songs” is about eight minutes too long though, boys! –Sean Koepenick (Joyful Noise)


PULLING TEETH:
Vicious Skin: 10”
Really, really fancy packaging; full color, foil-stamped, custom colored vinyl and a giant full color poster. Somebody sunk a lot of money into this little guy. Musically, it’s heavy, thrashy jock metal. I’m picturing emo hats and ear plugs and neck tattoos and expensive pants and stuff like that. I know there’s a really big audience for stuff like this, but it isn’t me. The poster is pretty cool, though. –ben (A389)


PROZACS, THE & THE GUTS:
Sticking with It: Split 7”
The Prozacs play late ‘90s pop punk in the possibly beloved ((by someone)) Mutant Pop style, with WHOA-OHs and YEAHs and other artifacts of pimply hyperbole, theoretically derivative of maybe the Teen Idols or Beatnik Termites if the listener is feeling particularly charitable that day; they shall likely neither disappoint genre devotees nor convert the heretical. Their masterpiece is the song “In Love,” which consists, in its lyrical entirety, of the phrase “I’m in Love” repeatedly seemingly endlessly ((which begs the question of why they couldn’t have gone the whole nine yards and titled the song “I’m in Love”—oh well, i guess ya can’t give ‘em everything up front)). If the opposite of “progress” is “congress,” the opposite of “Prozacs” is obviously “Conzacs,” but the band on the dark side of the vinyl appears to be called The Guts instead. Counter intuitively, The Guts have a slightly more “mature” sound than the Prozacs, which means that they can cover a song Keith Richards wrote and get away with it. “It Ain’t Working out” is actually a pretty cool punk rock electro-acoustic ballad. It is difficult for me to word the phrase “if you liked the stuff on Mutant Pop Records you’ll probably like this” in a particularly ingenious manner. Good night. BEST SONG: “It Ain’t Working out” by The Guts, although on a better day i guess it’d be “In Love” by the Prozacs. BEST SONG TITLE: “It Ain’t Working out” FANTASTIC AMAZING TRIVIA FACT: The Prozacs side of this record will not play unless i press down on the label with my finger as it spins. –Rev. Norb (Cabana1)


PINE HILL HAINTS, THE:
Self-titled: 7”EP
Crystalline conviction: that’s what’s so striking about The Pine Hill Haints. These four songs are full of restraint—almost sounding like a singer/songwriter collection, with vocals and banjo up front most of the time on the A-side—but it’s not dalliance or affectation. When you hear folk songs played so stridently, they’re as simple and straightforward as a rocking chair. No new-fangled, bing-bong, shit-wizardry. Yeah, the songs designs are pretty simple and follow understandable arcs, but that doesn’t take away from the fun and comfort they provide. Plus, true craftsmanship gets further revealed with each simple push, time and time again. Some fires burn slow without a lot of distracting flames, yet are able to heat up large spaces and are good for cooking… The Haints do just that. –Todd Taylor (Sunburst, www.myspace.com/sunburstlabel)


PARTY GARBAGE:
Self-titled: 7” EP
Though I’ll no doubt get hollered at, what I’m hearing here reminds me a lot of Crimpshrine, which ain’t exactly a bad thing in this case, but wasn’t really expected either, given the band’s from Austin. In all, it ain’t my cup o’ poison, but I can appreciate its charms. –Jimmy Alvarado (Super Secret)


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)


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