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Razorcake #86
Wailing Of a Town, by Craig Ibarra
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Toys That Kill / Joyce Manor, Split 7"


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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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CASY AND BRIAN:
Catbees: CD
Casy and Brian are a drums-and-keyboards duo making atonal dance music about anthropomorphic animals. Now, there’s a sentence I never could have anticipated writing. It’s hard not to make a Mates Of State comparison when you know their set-up, but from just hearing them, it’d never cross your mind. Casy and Brian are loud, abrasive, and owe more to hardcore than traditional dance pop, with screeching vocals and staccato, jerky drumbeats. The duo is clearly set on hosting, via CD, a crazy, good-times dance party in your living room. I admire their pluck, even if I’m not particularly swayed to join in. –Sarah Shay –Guest Contributor (Pish Posh Of North America)


CARBONAS:
Self-titled: CD
When I was fifteen, I got busted for trying to steal cassette tapes. In the cop room, they made me take everything out of my pockets. The security guard inventoried it and said out loud as he wrote, “Had enough money to buy the tapes.” The photo they took of me looked like the guys on the Carbonas cover. Harshly lit black and white, desperate but fun. Their music is desperate fun, as if Cheap Trick threw out the cute guitars and arenas and finally got a sharp edge to go with the great power pop. No nonsense. If you liked any of their 7”s, this won’t disappoint. –Speedway Randy (Goner)


CAR BOMB DRIVER:
Evacuate: CD
Though the puerile, sex-obsessed lyrics too often strain to be offensive, and their occasional veering a wee bit too close into Queers clonedom are a little disconcerting, they aren’t without their charms. “Balls on the Outside” is good for a laugh, but the true gem here is “Short Bus Baby,” the subject matter of which is so over the top it ranks up with Kiss’ “Going Blind.” –Jimmy Alvarado (www.24HourServiceStation.com)


CAN KICKERS:
Dark Molly / Live at Lavazone: 7”EP / CD
My brother used to electrocute fish during the summers. Well, he’d shock them so they’d float to the surface. His boss and he would take samples and they’d make a report on how many got chewed up in the turbines of Hoover Dam. The guy he worked for was a DJ at the local community radio station who had a bluegrass program. Because he was a friend of my brother’s and a nice guy, I’d listen to the show, even though I considered myself a budding punk rocker. Like any sort of genre you listen to from the outside, in the beginning, it all sounded pretty much the same, like it was one band playing the variation of one song for a couple of hours. But I liked to listen to it every couple of months. Fast musical instruments—no matter what they are—tend to keep my interest. After a while, I developed a taste for my favorite types of songs and players, and the music opened up a bit. And so it follows with the Can Kickers. They’re not a band I’ll visit every day; however, a 7” is a perfect length for keeping my full attention—a CD only if I’m fully in the mood. Yet, they sure hit the spot when I want to listen to something where someone’s not yelling at me. Real pleasant, blazingly fast bluegrass and folk played razor-sharp in a way that’s both respectful to those who came before, but lively and full of vim to remind us that all forms of music regardless of how long they’ve been around, if played with heart, is reason enough to keep playing and listening to it. –Todd Taylor (Dark Molly, Arkam / Live at Lavazone, Fistolo)


CAN KICKERS, THE:
Dark Molly: 7”
The Can Kickers play loud, raucous, off-the-cuff old-time music, and I can hardly think of a better way to describe them than how they do on their website: “What would happen if Minor Threat and the Ramones picked up banjoes and fiddles and joined a New Orleans-style second line?” It’s all there—the “here goes nothing” attitude of early punk, dirt-folk rowdiness, and a certain Cajun flavor that makes the Can Kickers one of the most fun old-time bands I’ve ever heard. A lot of people playing old-time music are set on preserving the original style and attitude of the music, but The Can Kickers just do it, for the pure love of making noise. –Sarah Shay –Guest Contributor (Arkam)


CABRON:
Mexican Shoe Thief: CDEP
This one really snuck up on me. The CD comes in a sleeve that looks like a 7” that was “hand-printed with love” by guitarist Bob Rob. The songs are layered with big riffs, smart lyrics, and a hugely muscular rhythm section. Cabron has found a place on my permanent rotation and my only complaint is that it’s too short. Expect big things from this band from Chula Vista. –Jim Ruland (www.myspace.com/cabronsd)


BROKEN BOTTLES:
Hospital: CD
Broken Bottles is one o’ them bands that make cantankerous punkers of my generation sound like total fuckin’ ninnies when they start whinin’ that punk has consistently sucked since 1981 and that there are no good bands that “get” it anymore. Vocals that sound like Mike Ness coming off the tail end of a helium bender spewing deceptively butt-simple lyrics, tunes steeped with the perfect amount of “thud,” cranked up guitars informed by OC’s glory days, these guys have the sound down pat and manage to channel everything that Social Distortion has been lacking since 1983 and make the whole thing sound utterly contemporary. –Jimmy Alvarado (TKO)


BROKEN BOTTLES:
Harbor Lane Homes: 7”
Broken Bottles have me a little confounded. Half of their new crop of songs I think are brilliant. The other half seems a little too easy, a little too redundant, and too inside of what they’ve already made. The crib notes to Broken Bottles is take early Social Distortion, take out prison and rockabilly, replace with mental illness and skateboarding, and steep it in the veneered decay of Orange County. On this single, “Skateboarder” is a little weird in the fact that it’d be best as an “after-skate” cool down tune. It’s mid-paced and not something to get you pumped before or during a session. Even when Jess sings “skateboard and destroy,” it sounds less an anthem and more a lament. That said, “On the Couch,” captures what I love about these guys. You can hear the illness and defiance, the cracks in the façade, the mold in the ceiling all above them, and the pacing suits ‘em to a tee. –Todd Taylor (Bat Skates / No Front Teeth)


BROADWAY CALLS:
Self-titled: CD
Pop punk very influenced by late-period Green Day. I heard they’re signing to Adeline Records, so that makes sense. My research also revealed that they’re participants in possibly the most punk rock event of the year: Warped Tour. Yikes. With tons of other records to listen to, I doubt I’ll spend much of my life listening to this band, but I could imagine others might disagree. If this were a cereal, it’d be Alpha-Bits. Why eat it when you could eat Lucky Charms instead? –Maddy (State Of Mind)


BREAKUP SOCIETY, THE:
Nobody Likes a Winner: CD
This record is not completely repulsive to me, but it is permeated with a sort of synthetic ickiness that makes me imagine that it was the product of Gordon Gano’s not-quite-as-bright son leading a band who idolize the Figgs at their least exciting, promulgating a crop of tunes based off the unlikely blueprint of the final Mr. T Experience album—i.e., this is a record where the time between the appearance of Clever Bits is of an extended enough duration that not only do you cease caring about the upcoming Clever Bit, but you also begin to resent the previous Clever Bit for being so unfulfilling. Even the lyrical chirps about Camus sound more lame-o collegiate than they do legitimately pop cultural, so kindly reference that song by Jonathan Richman about the girl not laughing at his jokes to see an example of how a proper pop-Camus reference should be handled. I do not generally wear a wristwatch, but, during the course of this album, i found myself looking at the spot on my wrist where a wristwatch would most likely be located. Quite often. BEST SONG: “Nobody Likes a Winner” BEST SONG TITLE: “The Day Before the First Day of the Rest of My Life,” which should just underscore how subtly annoying this album is. FANTASTIC AMAZING TRIVIA FACT: I was Employee of the Month once at Domino’s Pizza. –Rev. Norb (Get Hip)


BRAY:
Dracula: CD
This is one of a kind. The press release that came with the disc is worthy of its own review, particularly its picture of Bray looking like a 1986-era sitcom version of a rock star. You know, the episodes where the teenage girl puts on makeup, sneaks out to the city with her friends, and goes backstage at a concert, only to learn some valuable lesson? Bray looks like the fake rocker they meet backstage, except with slightly smaller hair. Not only that, but there’s a quote from him that says, “I prefer playing after hours. At night we become what we fantasize about.” Yeah, cheesy as fuck. Was that from Growing Pains or Who’s the Boss? I can’t recall. Just so you know, the music is right in line with the press release. It’s ridiculous. The lyrics are about Dracula and include clever bits like “You can run, but you can’t hide. If you scream, I will find you.” Also, “Can’t wait to sink my teeth into you.” All of these words are sung in a sort of breathy whisper and backed by Dr. Fink, who, according to the press release, played keyboard for Prince. Oh, just to make this more ridiculous, this is a CD single with only one song on it. –MP Johnson (Talking House)


BOULEVARD TRASH:
Demo: CD
Holy shit is this overdue. I got this when I met these kids in Milwaukee last winter, but through moves and messes, I didn’t find it again until just now. I really am wicked sorry about that (and I still have Dave’s bandana if he wants it back). They’ve got that Replacements-type pop down (think Bent Outta Shape or Ringers) with a pretty hefty shot of adrenaline and a little added snottiness. Good stuff. I’m hoping they’ve put more out by now. –Megan Pants (Self-released)


BORN BAD:
Moron Music: 7” EP
Nice bit of spastic, scrappy thrash here, with lyrics addressing blind faith, police brutality, snooty old punks, and stupid young punks. From the sound of ‘em, I’m betting these guys rip shit up live. –Jimmy Alvarado (Fashionable Idiots)


B-MOVIE RATS, THE:
Radio Suicide: CD
The ‘Rats were one of L.A.’s most guitarin’-est (is that a word? Fuck yeah, it is now) bands that brought the rock when it came to their live gigs. Very few of the rock-inspired punk bands did the deed right when it came to putting up or shutting the fuck up, and Los Rats put up time and time again. Unfortunately, the band splintered up in the early 2000s and this disc was the last thing the guys were to lay down in ‘02. Interestingly enough, there’s a helluva lot more influence and texture on this post-release than their earlier rips ‘n roars that were found on the other records. But that isn’t at all bad; this album is actually really, really good. Very well done musically. Most punker types are gonna dismiss this as arena-inspired, super rock that has no place amongst the CD rack just to save face in front of their spiky-headed confidants. But if they threw this record on and really gave it a fair listen, they’d pick up subtle hints of the MC5, the Who, the Faces, Alice Cooper, Mott The Hoople, early-era KISS, and some ‘60s R&B that comes across pretty nicely. Oh, those influences aren’t “cool” enough for you? Then go eat a dick in the back of some stranger’s car while you hear the muffled sounds of the Eagles playing on the tape deck, you fucking closet hippie. –Designated Dale (Rankoutsiderrecords.com)


BLUNDERBUSS:
Self-titled: CD
Blunderbuss hails from Pittsburgh, and while I’ve never been to that fair destination, this music is what I imagine the city to sound like: a slow, churning, methodically metallic cacophony, like someone banging on factory pipes with a hammer while a large engine rumbles rhythmically, keeping time. The songs are noise-rock dirges that are content to plug along for a few minutes in Shellac-like repetition before exploding in a swirl of coppery guitars and the rigorous thumping of the drums. “Sin Built Stairs” builds on a menacing bass line that vibrates so hard I checked my cell phone thinking I had a call. Slint and Jawbox would round out a great bill with Blunderbuss opening. –Josh Benke (Escape Artist)


BLOODREDS, THE:
Mister Mess: 7"
Not really my thing. More of a TKO Records street punk-ish sound reminiscent of the Bodies with sorta patriotic (confusing?) lyrics like, “These brave men of courage put their lives on the line/When all is said and done/We’re the ones who lose/the system’s failed you and its failed our troops.” Like I said, not my thing. If this were a cereal, it’d be Total. But some people love Total. I do not. Ack. –Maddy (Bloodreds)


BLACK SUIT YOUTH:
Our Future Is History: CD
New York four-piece that mines the nu-metal caverns and just comes up with a wheezing cough from black lung. Technically, these guys are fine; I’m just not feeling any passion with this one. Somehow I think the future for this one is the cut-out bins. –Sean Koepenick (Self-released)


BLACK CROSS:
Louisville, KY: CD
This is a band from Louisville, Kentucky. You can definitely hear the redneck in this album—I should know; I’m from Florida. I say that because of style, not lyrics. The lyrics are actually a decent read, but not too profound. It’s a bit bro-dude for my stylings, but I like the parts of the songs with punk influences. With different vocals to the music, it could be really fun, but I don’t think that’s what they’re going for. So if you’re into stuff a little bit more on the hardcore side, you would probably be into this, although I have a hard time imagining recommending this album to one of my friends. It’s just not that catchy. At least not catchy enough for me to say, “Holy crap, you got to listen to this!” –Corinne –Guest Contributor (Auxiliary)


BILLYCLUB:
No Justice: CD
Some great tough guy punk from a band that has been doing this for ages and you can tell. The songs are well written and everything fits just right. The sing-along vocals are infectious and the production is really good. A cut above for the genre, for sure. –Ty Stranglehold (Cult Jam)


BILLYBONES, THE:
We’re Selfish: 7” 45
The title track is one of those songs that i ((rightly or wrongly)) strongly associate with the L.A. punk rock tradition circa 1982-present: Produced just enough so that the song is quite incapable of kicking your ass with its potential rawness, but not well-crafted enough to smack you around with its latent genius—in other words, a song that, by rights, should be maybe the fifth song on the first side of an album masquerading as a song that somehow is clamoring to be heard as the a-side of a single. I kinda like it ‘cause it sounds a little like the Humpers, although the Humpers would have been canny enough to add a bridge or some god damn thing in the middle ((or maybe they just woulda swung the microphone over their head like a lasso, who the hell knows)). “All Excess” sounds like more of the same, until the welcome and unexpected addition of a little two-note guitar riff a la Shelly/Devoto/Diggle that completely changes the nature of the tune for the good ((sez me)). The b-side is a nifty pummeling of Roxy Music’s “Editions of You,” and, while no Roxy Music fan be i, as far as i’m concerned, if Mr. Ex-Skulls Vocalist isn’t gonna ride herd on all our asses with some timely What? Records rawness, i’d rather see him following his latent Limey pre/post/punk Ferry/Shelly/Devoto/Digglisms than loosing L.A.’s umpteenth batch of songs that sound like they wanna be on that one BYO comp upon the world. But, then again, purple-with-green-spots vinyl is pretty cool so what’s it to me anyway? BEST SONG: “All Excess” BEST SONG TITLE: “We’re Selfish,” just because it seems like it’s in the “We’re Desperate” tradition, which, prior to the advent of “We’re Selfish,” was not a tradition at all owing to a paucity of followers. FANTASTIC AMAZING TRIVIA FACT: “Billy Bones” was the name of the pirate captain who crossed Long John Silver in Treasure Island, which remains one of my favorite books to this day. –Rev. Norb (Dr. Strange)


BELL, THE:
Make Some Quiet: CD
I reviewed a band called A Study In Her a few issues ago and the Bell are quite reminiscent of them. The twelve songs on the album are somewhat electro driven with a bit of Brit pop (New Order, Duran Duran, Echo and the Bunnymen, etc.) filling in the space. There’s a general indie pop feel with female and male vocals both keeping things pleasant. Hyphenated adjectives such as “alterna-pop” and “drum-machine fueled” were used by Spin to describe this band and that seems accurate. This Swedish three piece’s songs would seem to compliment a foggy setting or an overcast winter day. That’s not to say they’re entirely depressing, as there’s a subtle thread of up-beat energy that reminds the listener that all is not lost. My palate can handle this, but as I said to a friend the other day, “Why would I go listen to most of the second-rate current stuff when I could go back to the source and hear the stuff that influenced a lot of the music around today?” Especially when—while not bad—it’s not a huge improvement on anything that’s come out in the past thirty years. That being said, give me my Tears For Fears. I want to rule the world. –Kurt Morris (Badman)


BEATNIK FLIES, THE:
Drunk on Incense: CD
Eighties garage rock champs from DC return with a new release. Loud, fuzzy, and in your face, this record will split your eardrums. “Runnin Free” and “Blue Early Morn” are lodged in my brain. But they all rock hard. Think Dee Dee Ramone jamming with The Heartbreakers while Thunders is passed out in the hotel room and you get the idea. Cool covers of The Slickee Boys and Echo & The Bunnymen too. –Sean Koepenick (Beatscene)


BAD SAMARITANS:
Re-gur-gi-tate: CD
There are two things I learned from listening to this: the first is that I cannot spell Samaritans without the help of a dictionary; the second is that album covers with vomit on them are rarely a good sign. Bad Samaritans lay somewhere between Toxic Narcotic and Poison Idea, leaning more to Poison Idea as time marches on. Though their main musical focus lies on trying to sound like the two aforementioned bands, they manage to rip off other hardcore favorites like Agent Orange’s “Bloodstains” in their song “Ted Offensive,” and Black Flag’s “Damaged” in “Sundance.” I thought they were ripping off a Hanson Brothers’ song too, but that turned out to be a Hanson Brothers cover. As another unrelated thought, when I opened the case, the little clips that held the CD in place were all broken and fell all over my kitchen floor. Something makes me wonder if they did that to all the review copies they sent out. –Bryan Static (Nickel And Dime)


BAD SAMARITANS:
Re-Gur-Gi-Tate: CD
Last time I saw these guys was at the Tropico in East L.A. back in ‘99 when they played with the Stains. Good to see they’re still out wreaking havoc. Even happier to see they’re still cranking out some seriously pissed-off hardcore rivaling the output of bands like Out Cold and Strung Up. If loud’n’fast is your bag, these guys deliver the goods in spades. –Jimmy Alvarado (Nickel And Dime)


BAD CHOPPER:
Self-titled: CD
I have been waiting for this CD for a very long fucking time. Just ask the record label’s head honcho, who I kept bugging via email. “Why?” you ask. Because it’s the return of CJ Ramone! Shit yeah! He’s singing lead, playing bass, and taking names. Joining him is Mark Sheehan on drums and some rhythm guitar. Brian Costanza is on main rhythm guitar. Guest guitar on two songs is Walter Lure (The Heartbreakers—and if you ask about Tom Petty, I’ll sock ya!) and Daniel Rey produced the whole hootenanny. This rocks from start to finish. Don’t ask me to pick a favorite off this; I just can’t. But it’s twelve songs, and it’s fantastic. That’s really all you need to know. Who knows, maybe they will even tour? If so, I may have to bring an extra pair of boxers. –Sean Koepenick (Acme)


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·JJ NOBODY AND THE REGULARS
·LKN / KNIFE THE SYMPHONY
·TERRIBLE FEELINGS
·Record Reviews in Razorcake #79
·KAM KAMA
·Jesus Lizard Book, The
·DRIPS, THE
·DURANGO 95
·HIBACHI STRANGLERS, THE


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