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· 1:Razorcake #82 Now Available | Baby J, (Can Of Beans, Stoned At Heart)
· 2:#336 with Marty Ploy
· 3:Tom Neely and Keenan Keller Interview
· 4:#335 with Bryan Static
· 5:Punk Parenthood for the Sleep Deprived 5

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Record Reviews

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Below are some recently posted reviews.

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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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

Tear It Down: CD

Never really liked these guys much, and was wholly unimpressed with ’em the one time I saw ’em, and yet I’m kinda diggin’ this. It ain’t the post-Minor Threat, Boston circa ’86 vaguely metal feel of this, ’cause that ain’t so new and inventive, and lord knows I’ve said more than enough times that most metallic hardcore gives me a rash. Mostly I think it’s ’cause, in this post-9/11 world where it seems the entire world acts toward the Big Apple like co-dependent parents coddling victimized progeny, these guys have the huevos to lay down a ditty entitled “Fuck New York.” Gotta love that.

–Jimmy Alvarado (Thorp)

Skeemin’ NoGoods: CD

Sometimes records come with a host of expectations: a one-sheet hyping members past bands or possibly a publicist tossing out a handful of comparisons at you. The Skeemin’ NoGoods showed up without much fanfare—just another disc slipped in with a handful of others in a padded manila envelope. And then sometimes, when you slip it in the CD changer and press play, your whole world gets rearranged. And that’s what happened to me with the Skeemin’ NoGoods. Cut one (“I Want Something”) jumps out at you with the fervor of classic speedball punk; think Johnny Thunders filtered through more beer and bands like The Humpers or Riverboat Gamblers. I’m thinking, “This is good shit,” but secretly hoping it doesn’t go down as predictably as a twelve-pack of PBR. By track two (“Politicians”), an Agnostic Front street punk styled run-up about dirty politics, and I’m totally thrown off course for my predictions. Then, the band has the fucking balls to follow up these with “Punch the Clock,” an infectious ‘70s rocker than recalls Cheap Trick and Thin Lizzy respectively. Fuck me. So I Google their ass and find out that they are on the Dallas-based label Idol Records which is home to VH1’s Band On The Run winners Flickerstick and aging Lollapalooza staples from ’95-’96 Sponge. Now I’m even more confused. Add to the fact that the band is from Detroit, features John Speck (formerly of Fags, The Paychecks), and none other than Ron Sakowski of Necros, Laughing Hyenas, Easy Action fame on bass, and drummer Chuck Burns (I apologize for not referencing past acts here, but goddamn, this guy definitely splinters his sticks when he plays) and you’ve got one of the hardest three-piece bands I’ve ever heard. And they do a cover of fucking Skrewdriver’s “I Don’t Like You.” Fuck me again.

–greg (Idol)

True Gold Does Not Fear the Refiner’s Fire: CD
Drab, plodding proto-prog emo grunge with a mid to slower tempo. It’s raining right now, dreary in the middle of Western Washington, which is kind of how it is most of the year and, honestly, I don’t want to hear this right now. I’m not one of the kind of people who likes the rain and the depression of Seattle to keep me inside to “create.” I really want something to pick me up when the weather is shitty, something to elevate me, and this isn’t it. I don’t know where this band is from, but they sound like regional bands like Built To Spill or Modest Mouse. This isn’t bad for what it is, despite my dislike, so if you’re feeling too happy or not depressed enough, this might be the ticket. –Jason Donnerparty (Self-released, Woodenghost@earthlink.net)

Maybe Eliminator: 7" EP
I can picture Arthur Bates, the one man behind Wicked Poseur, sitting in his basement apartment, shades drawn, absinthe in hand, listening to a steady diet of Joy Division. I can’t picture this same guy caring enough to write, record, press, and distribute to other people a 7”. That’s how bleak an image I get from these slow, morose, icy, yet still rather catchy songs. And they were made in isolation; at least Ian Curtis had bandmates. Maybe Eliminator is all right, just keep away from sharp metal objects when listening. Mike Faloon –Guest Contributor (Enduring Self, www.enduringself.com)

You Only Get One Shot at the Big Time: CD
Few things are weirder than getting a comp CD of obscure punk bands and finding your old band on it (albeit an incarnation that preceded my involvement by a decade). As biased as I may be, I dug the five Black Jax tracks the best (all of which can be found on the Wankin’ Stiphs release of a few years back) but the remaining bands on here—M80s, The Ejectors, Zellots and The Sterics—are quite good, too. –Jimmy Alvarado (www.wizzard-in-vinyl.com)

Brandon Hardcore – Music for the Kids: 7"
It’s the idea behind this comp, the execution of it, that’s so rad. Local bands get together and put on a bunch of benefit shows until they’ve gotten enough money together to release a local comp 7”. It’s an incredibly simple idea, but one that’s seemingly only done in Brandon, a small Florida town. The town’s obviously got one fuck of an active, self-sufficient scene going on. And as it’s stated on the back of the record, no one’s really doing anything like this in Portland, Minneapolis, DC, San Francisco, or any other supposed punk mecca. So the idea is just awesome. The bands themselves aren’t really all that great, sorry to say—mostly a lot of nondescript super-fast crust and thrash stuff. Gross National Product takes the cake with their cover of “Cuffs on My Hands” by Gay Cowboys In Bondage. You’ve also got tracks by Reckless Deerhunters, Small Talk Death, Bad Eating Habits, Control De Estapo and Machete Attack. –Keith Rosson (Burn Brandon, reckless_deerhunters@lycos.com)

Self-Titled: CD
I don’t know what it is this month, but the story seems to be the same every time. Good tunes, bad vocals. This time I’m dealing with the guy who sounds like he’s been drinking Sterno in the alley behind the studio. Painful. Fortunately, there are some tracks without the “gargling thumbtacks” guy, and those are the ones that really do stand out. It’s all well played too. What can you do? –Ty Stranglehold (Fivecore, www.5corerecords.com)

Internal Salvation: CD

I seem to remember their first two LPs being touted as really great, spot-on streetpunk. A few full-lengths and Warped Tours later, what’s coming across is about as threatening or memorable as a rice cake on the countertop. I mean, yeah, the production’s flawless, the musicianship’s terrific, in that slicked-up, über-produced Epitaph kind of way. And admittedly, I’ll bet they’re one of those live bands that can just smoke, just play super-fast, super-tight, and still manage to flail and bop around and be fun to watch. But apart from a very few interesting moments on this disc (Hellcat didn’t include lyrics, so I’m just going off ze sheer rockingness-factor), the whole thing goes in one ear, rattles around in the Batcave for a second, and pops out the other side. I’ve reached the point in my Razorcake reviewing, uh, career where I really don’t like to just blatantly bag on something, but I guess I’m not really capping on this one, either. Internal Salvation, like the previously mentioned rice cake and this review itself, is just kind of there, you know?

–Keith Rosson (Hellcat)

Self-Titled: CDEP
The music here is your above-average thrash stuff with a good, driving beat delivered by a tight band. The lyrical subject matter is interesting, too, with its criticism of prescription medication, people afraid to face adulthood, gangsta rap, and gangster life. Frankly, the only gripe I have about their delivery is their adherence to the now-cliché alternating screech/burp vocal style. Judging solely on the lyrics to “Crime Vs. Criminals,” I had no idea the Crips and Bloods had chapters in Saskatoon, Canada. Sheesh, you really do learn something new every day. –Jimmy Alvarado (www.100percentwild.com)

Braces: 7"EP
Some people say that to live is to suffer. Others say that to live is to suffer so you may as well punish yourself by listening to music that sounds like Mudhoney with more distortion in the vocals, more noise in the background, and fewer melodies along the way. Not many people subscribe to the second saying, but if you’re among them, then scarf up Braces. It has buckets of what you seek. Mike Faloon –Guest Contributor (myspace.com/tractorsexfatality)

Surf and Turf: 7" EP
Surf side: I want to do “The Crab.” I think I know how it goes—strut across the dance floor sideways, crouched over, hands acting like claws. The song title tells me I’m in for a great time. Trouble is The Thingz aren’t there with me. They sound bored, indifferent, distant, and the “The Crab” passes unnoticed. I can’t have a good time if I’m wondering what’s wrong with the band. Disappointing. Turf side: “She’s a Piranha” is much better. B-52’s kitsch with a Peter Gunn guitar line. The last tune, “T-Bone,” falls somewhere in between. Good recipes, but needs more pizzazz to merit more time on the turntable. Mike Faloon –Guest Contributor (Coffee Addict, no address)

World of Shit: CD

Sick death synth from Jay Reatard. Maxed-out fuzz obliteration for fucked up kids. Not so much more disturbing than Destruction Unit, Ryan Wong’s synth project that Jay is often a part of, and not more moody than his other friend, Digital Leather, but where the Unit sounds like a band ripping together in a basement, TV feels like a lonely kid in a trailer park with synthesizer and Radio Shack mic, pulling it together. Where Leather also feels like a solo project of hatelove, TV is more speedy across the board. The whole album goes by quick, but not painless. The whole album falls into death synth territory with itchy minimalism, but the occasional song you could actually fukking play in a club (“Medicated Dreams”) where E boys might tap into it while melting. A Digital Leather cover (“Shattered Reflections”) is in that clubby mode too, and fulfills the incestuous nature between all these guys. While the remake of “Endless Tunnel” (originally on the Lost Sounds’ Demos Vol. 2) is pretty great, how can your favorite not be “Blood Is Sweet but Semen Is Sweeter”?

–Speedway Randy (FDH Music, fdhmusic.com)

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Department of Cultural AffairsLos Angeles County Arts Commission

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