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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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DISCHARGE:
Why & Hear Nothing See Nothing Say Nothing & Never Again: CD
Few bands have had such a profound influence on underground music, and a more embarrassing downfall, than Discharge. For a fleeting period in the early 1980s—wherein they eked out one album, a few 12” EPs, and a slew of absolutely vital 7” EPs—they were pioneers of a sound that not only influenced, directly or indirectly, virtually every hardcore punk and speed metal band (check out Metallica and Anthrax’s respective covers of “Free Speech for the Dumb” and “Protest and Survive” if you don’t believe me) that formed in that period, but also provided the template for twenty-seven years-worth of Scandinavian, Japanese, and Brazilian thrash bands, and even a bevy of contemporary would-be claimers to their throne, who peddle their wares under the “D-beat” banner. Of the three releases here, Why and Hear Nothing See Nothing Say Nothing are indispensable—a one-two primal scream against wars and the corrupt states that wage them that starts out with a bone-crunching wallop with “Visions of War” and doesn’t let up until the listener reaches “The End,” the last track on the latter. To sweeten the deal, every track from the aforementioned 12” and 7” EPs have been appended to these two discs, resulting in a nice overview of the band’s most important period. The third disc, Never Again, is a “greatest hits” package of sorts thrown together after guitarist Bones bailed to form Broken Bones with brother (and fellow former Discharge member) Tezz. While all the songs on it are, indeed, some of their best, someone had the bright idea to remix them, and the result was a complete watering down of their sound and all the power the songs originally had is effectively lost. Those interested in the train wreck the band’s career became—by 1986 the metal influence that had been threatening to creep in came crashing down and, coupled with Cal’s sudden interest in trying to sound like Rob Halford, they essentially became a glam band—would find their morbid curiosity more than sated with just one listen to the tracks from their Ignorance and The More I See EPs, included on the disc, which are as good a starting place as any to identify the beginning of their quick slide into suckdom, a condition that remained chronic until the band returned to form twenty years later on 2002’s Discharge album. Long story longer, my recommendation is to pick up the first two discs here then skip straight to the 2002 album and proceed to the third here only if someone gives it to you, you’re some kind of silly collector nut, or you’re a bit of a masochist. –Jimmy Alvarado (Captain Oi)


DIRTY LOOKS, THE:
Self-Titled: 7"
I almost wish someone didn’t tell me that this had a couple of folks from Bent Outta Shape (RIP) because my expectations for this just went through the roof…. This sounds disconnected to me. The music’s great—that jangly, crisp, tight, fisty Hüsker Dü meets Replacements meets “indie band I won’t care for but am glad that a punk band got something out of it” sound. But, for me, the vocals don’t quite match up. Like Bossy (another Bent Outta Shape offshoot band), it almost sounds like they’re fronted by Nico {shiver}. The voice itself (not a comment on the person singing) sounds disinterested, distant, almost droney, even when she’s screaming. It’s just kinda… weird that the tone of someone’s voice makes such a difference, but it does. This 7” is like it’s driving around with the parking brake on. Comes with a poster and a slip of paper that directs you to free MP3s of the songs, which is way thoughtful. –Todd Taylor (Iron Pier)


DEFECT DEFECT:
Words: 7"
It’s official; I still think Defect Defect are one of the best bands going in American punk today (actually, just make that punk). The A side is new versions of songs from the demo tape, and one of the best examples of making you feel like you’re seeing a band live ever. The B side is one new song that’s a little weirder, but makes me really anxious to see what kind of directions they’re going in. Though at this rate, I don’t want a full length, because if they tour the U.S. for every 7” they put out, my guess is that they’ll somehow strap water skis to their van and literally drive it around the Earth to support an LP. Seriously, get into this band right now. –Joe Evans III (Clarence Thomas, www.bistrodistro.com)


DEFECT DEFECT:
Words: 7"
I’m old fashioned. I involuntarily wince when a band I really dig breaks up (The Observers) and the folks go on to other bands. Totally unfair of me. Guilty. Suckin’. It takes a bit of time for the water to recede from the previous endeavor and listen to the new project by itself, of itself. Fact 1: Colin and Mike are two golden dudes who know how to play and their ethics are unquestionable (again, old fashioned of me, I know). Fact 2: Instead of griping, or “pulling a Misfits” or “pulling a Dead Kennedys” and holding on to the vestiges of a once-great band, these two go a completely new route. Fact 3: Bands that clone Black Flag (pick your era) suck. Bands that find those hidden lightning bolts and charge their own brains can rule, and Defect Defect do just that. It’s a straight-forward attack that’s simple, yet mighty effective. Fact 4: I’ll give any band that’s named after a Wipers lyric more than the benefit of the doubt. Theory 1: I have the feeling they’ve got plenty of surprises up their sleeves and I can’t wait to hear more. Conclusion: awesome. –Todd Taylor (Clarence Thomas, www.bistrodistro.com)


COPYRIGHTS, THE:
Mutiny Pop: Picture Disc LP
People have called this album much like ‘90s Lookout Records material…but it’s much better if you ask me, as it’s catchier, less whiny or forced, and much fuller than the aforementioned recordings. I know reviewers never really touch upon the actual design or layout of albums for some reason…but I can’t help myself on this one. Super orange and black splashes and streaks on the vinyl complementing the labels and artwork are having me do back flips of joy. The poster and lyric sheets are great too—you wanna put them both on your wall instantly! The artwork really doesn’t attack you on the CD version as it does here. It’s some special stuff. Makes you feel like a lucky holder of Willy Wonka’s golden ticket. I promise. –Mr. Z (It’s Alive)


COPYRIGHTS, THE:
Make Sound: CD
The new offering from Carbondale’s slowly growing saviors of punk rock. Okay, maybe they don’t see themselves as such, and maybe they are saviors in my head alone…but god damn, this new album is amazing. It’s leaps and bounds ahead of Mutiny Pop, which in turn was light years ahead of We Didn’t Come Here to Die. Each time The Copyrights, put out a new album, the lyrics speak to me like no other albums have, and this is no exception. Lyrics like “I’m starting to feel like I’m on this city’s menu, but I don’t mind” are not only relevant to me right now, but are cleverly written—no simple “this city is eating me alive” here—uh, uh, no way. And yes, it’s pop punk. But…if you were to play this album for anyone outside the punk rock underground…they would not only not be able to link this remotely to anything they know of as pop punk…but I bet you they’ll start to wonder why it was American Idiot and not this album in their car CD changer right fucking now. And for those of you who get excited about amazing vocals, guest backups were offered up by Zack Rivethead, Brendan Kelley, and Danny Vapid. Super sweet. This shit is giving me cavities already. Ten stars out of five. Will this be at the top of my 2007 list? You know it, buddy. Now go buy it. We’re never out here alone. Never. –Mr. Z (Red Scare)


COPYRIGHTS, THE:
Make Sound: CD
I grew up outside of Vegas. My parents are frugal. We ate at tons of buffets. Somewhere right around graduating from high school, I finally learned something about eating. Take your time. No need to stack your plate up. You can always go back for more. It’ll be there; casinos lose money on these things. They just need to keep the gamblers in the building. I didn’t take my own advice with pop punk in the ‘90s. I fuckin’ gorged myself at the table; pooping and puking the pop punk I couldn’t rightly digest. Fast forward ten years. I have a gag reflex that I have to get over: the slight echo and reverb on the up-front vocals, gnat-ass tight instruments, whatever knob that pours syrup over the entire enterprise, makes me push back from the table before I take a bite. But not always. Because with bands like Teenage Bottlerocket and The Copyrights, I hear much more than just pop punk—although that’s the moniker it’ll be saddled with—it’s bands like this, years later, that remind me why I sat down at the table and grabbed a fork the first time. Real good album. Fun, tight, alive. –Todd Taylor (Red Scare)


CONTAMINATORS:
Non Existant Love: 7"
Liked the sleeve, which has that retro-punk/new wave linear art look to it, and even thought the primal, almost haiku-type lyricism wasn’t too bad either. The music, essentially overdriven rock/punk stuff, was kinda pedestrian. –Jimmy Alvarado (Going Underground)


CLOROX GIRLS:
J'aime Les Filles: CD
First off, if these guys really believe the line from their press bio that attempts to sonically link them with Chuck Berry, Ritchie Valens, and Howlin’ Wolf, they gotta be HUFFING Clorox®, not merely bleaching their hair with it. Truth be told, the band currently actually sounds like a cross between two other Portland bands, the Wipers and the Exploding Hearts—although curiously both overtly punker and overtly popper than either of them. Punky and poppy, with proper reverence for strong tunes of brief duration, yet with still a pervasive Wipersly aura of sadness and minor chords and shit and some weird fetish for French pop music tossed into the mix to throw the hounds off their trail. I like the band, but have always been troubled by the fact that none of their songs are particularly memorable. Case in point: I’ve listened to this disc numerous times, but am currently re-inserting it so I can see what is the… BEST SONG: Oh yeah, “Dreaming of St. Kiley.” See, I knew that, but forgot it. Weird. BEST SONG TITLE: “Boys Girls,” because I have issues with “Le Banana Split” being a cover not originally performed by the Banana Splits. FANTASTIC AMAZING TRIVIA FACT: The liner notes include this statement: “MMM. 17 TV.” –Rev. Norb (BYO)


CHUCK RAGAN:
Do You Pray b/w Congratulations Joe: 7"
Chuck Ragan has made me revise the, “Oh, fuck this. An acoustic guitar? Absolutely not,” thought bubble that automatically pops into my head when I walk into those situations. I’m prejudiced against the format that’s all-too-often given the solo-act Blues Hammer treatment, yet Chuck translates a ragged heart so clearly, simply, and directly right onto vinyl that it’s startling. Hats off to his haunting, beautiful, and gutsy stuff. –Todd Taylor (No Idea)


CHILDREN’S CRUSADE, THE:
Get Awesome: 10"
This batch of recordings is from 2002 and 2003, and in fact the band no longer exists. But I guess, as the story goes, this recording is what urged Adam and Jenna Alive to even start making records…as each year passed, the recording got older and the band kept fading from the memory of even those who knew of them. Then, just as it seemed this record was to be lost forever, fourteen releases in and It’s Alive Records decides to pay homage to the recording that essentially started them off. The band wields Titlwheel’s honesty, Fifteen’s poetry, and Toys That Kill’s clean yet full of fuzz and buzz recording quality. I’m not in love with this yet…but I will be soon. I’m on my sixth listen right now, and it just keeps getting better. Band members include Mike Napkin (The Minds, The Observers, Blood Bath & Beyond, Defect Defect), and Max from the Trashies. –Mr. Z (It’s Alive)


CHELSEA:
Faster, Cheaper & Better Looking: CD
These legends of ‘77 have returned with a new record, and truth be told, I found it to be pretty rockin’. There isn’t much to say about the musical content specifically—mid-tempo spirit of ‘77 punk‘n’roll. But not stale. It comes off, for good or ill (may the listener decide), as a soundtrack for the aging punker. There are overtly political songs about social ills and governmental endeavors (thank you, Chelsea, for reminding me that England’s men and women are dying in Iraq as well). But the overall concern appears to be the supremacy of music as a prime mover in the life of the individual; only a couple of songs focus on this theme overtly, but the very fact that Chelsea has taken the time to put out a new record, and a good one at that, makes this supremacy of music a subtext underlying all of the songs on the record. Consider: “Sod the War,” an overtly political song, is in fact a song. Chelsea has used music as a vehicle for their thoughts and ideas, even at a later stage in life when most people are willing to sit in their chair and pop off a letter to the editor that may well never even be read. While often it comes off as entirely hokey for a “legend” to put out a new record years down the road, this is one of the few cases that I’ve seen in which the “legend” status actually adds great flavor to the stew. Maybe it’s because the record appears to have sincere motivations in wanting to rock, or maybe it’s because the record just rocks. –The Lord Kveldulfr (TKO)


CHANNEL 3:
I’ve Got a Gun / After the Lights Go Out: CD
Back when I was a kid, Channel 3 was one of them bands everybody seemed to love to hate in L.A., and I could never figure out why. I’m figuring most of that ire was based on some sorta jealousy at their being signed to Posh Boy or something, ‘cause it certainly wasn’t the music they was peddlin’. Nearly all of the music they produced during the early part of the ‘80s—their eponymous (a high-fallutin’ rock crit word meaning “self-titled.” One must occasionally throw in such words or they kick you out of the union) 12-inch EP, the Fear of Life LP and the After the Lights Go Out LP—was prime-grade, impassioned Southern California hardcore punk that is simultaneously typical for its time period and somehow timeless, as evidenced by the popularity of the band’s songs and the numerous times and ways it has been repackaged. The tracks from all the aforementioned records are here (although the order of the earlier tracks follows the U.K. I’ve Got a Gun release, which means the most of the EP and Fear of Life tracks are mixed up together and sequenced differently), along with the remaining U.S.-released tracks that didn’t make the original U.K. pressings, an odd B-side and comp rarity, so what you get is essentially all the essentials a fan would need. Suffice it to say that despite what others said back then, I was always an unabashed fan of these kids and remain so, and if, after listening to this ‘til it melts in your player, you find you need more, I highly recommend their most recent effort on Dr. Strange as your next purchase, as it’s easily the next best thing to the stuff here. –Jimmy Alvarado (Captain Oi)


CALL ME LIGHTNING:
Soft Skeletons: CD
Refined savagery? Or savage refinement? I think the latter. Call Me Lightning are like a hungry, feral beast with a surgeon’s approach—their music rips you apart, but it’s not a hammer blow, rather the more precise violence of the scalpel. It’s always good to hear a band that doesn’t need to rely on a truckload of heavily distorted power chords in order to be compelling. Their web bio claims influences of “too much of The Minutemen, not enough of The Birthday Party, and just enough Led Zeppelin” and that seems to be pretty accurate; the Minutemen and Birthday Party influences are clearly here in the band’s minimalist tunes that have a spooky and slightly desperate and deranged air about them. This record rocks with the edge of a knife, alternating between surgical precision and mad, random stabbing. –The Lord Kveldulfr (French Kiss, www.callmelightning.com)


BUSINESS, THE:
Keep the Faith: CD
Usually when a band decides to give it another go, one of two things result from their efforts: 1.) they make total fools of themselves, 2.) they pick up right where they left off and just kill. This reissue of the Business’ ‘90s “comeback” album leans towards the latter, thankfully, with much of the same strong, catchy songwriting and topical lyrics that made them such an indispensable part of the ‘80s U.K. punk scene. On here, they tackle the stupidity of Kurt Cobain’s death, corruption, football heroes, and human obsolescence in a rapidly changing world with the same fire, wit, and righteous anger they once used to such effect on classic material like “Suburban Rebels” and “Real Enemy.” There may have been a bit more “rock” to the guitars—but not so much as to send them tumbling into the “bad metal” camp—and the occasional bluesy riff complements the “punk” quite nicely. –Jimmy Alvarado (Captain Oi)


BUSDRIVER:
RoadKillOvercoat: CD
Some strange things appear to be afoot over at Epitaph. While their choices in punk fare have pretty much degenerated into a stable of generic, piss-poor bro-core fodder, their forays into the world of underground hip hop have been, for the most part, pretty fuggin’ stellar, present company included. Schooled in the art of rhyme by members of the legendary Project Blowed—a loose community of Los Angeles MCs who count amongst their ranks such respected artists as Freestyle Fellowship, Abstract Rude, Acid Reign, The Nonce, Volume 10, and Of Mexican Descent, to name a few—Busdriver specializes in a fiery, flashy form of rapping that doesn’t so much transcend most of what you hear on “urban” radio stations as it does grab it by the lapel and slap it silly. His borderline abstract rhymes (if you listen close, however, there’s more meaning in them words than you may think) are delivered in a light-speed staccato style that’s drenched in alliteration so meticulously crafted that his vocals become a percussive instrument unto themselves. This may be his most “accessible” album to date, and there is much here that sounds nice pumped up to eleven on a good thumpin’ system, but most will find the included lyric sheet much needed to wade through the dense proceedings. Yeah, I know there’s an abundance of weak shit tagged as “rap” out there, but I triple-dog-dare anyone to give this disc a listen and insist it’s any less “art” than Charlie Parker or Romare Beardon. –Jimmy Alvarado (Epitaph/Anti)


BRUTAL KNIGHTS:
Feast of Shame: CD
Whoa, so this band totally rocks out? Straight forward, doesn’t hold back rock: check. Part sleazy/ part hilarious songs like “Teach Me Sex” and “We Have a Website”: CHECK. Yes, I think this band totally rocks out and I can’t recommend this enough, whether you like heavier stuff or not. –Joe Evans III (Deranged)


BRAINWORMS:
Which Is Worse: CD
Hairy, Richmond scene vets Brainworms play tuneful hardcore with the perfect balance of drive and technical stuff. I’m hearing the skronks and quirks of late ‘80s D.C. cold lampin’ with Jesus Lizard’s off-kilter guitar muscle. They even have wiseass song titles like “Phat Intentions” and “Break Down the Pajama Walls.” I’ll take a shot in the dark and say that when this band plays a house show, everyone takes a break from flirting and drinking beer in the alley, and comes in to watch, and for those twenty sweaty shirts-off-dudes-on minutes, all is right in the world. CT Terry –Guest Contributor (Rorschach)


BRAINS, THE:
Hell N’ Back / No Brain, No Pain: CD
I’m not a massive rockabilly fan, but I know and appreciate a fair amount. I enjoy it, but in moderate doses. The Brains just might be the exception to that rule. This disc seems to be mashing two albums together. It better be, clocking in at twenty five songs. That’s a lot of twang and pomade for anyone, but I had no problem getting through the whole thing and enjoying it. They do a horror thing, so the majority of the songs are zombies, blood, corpses and such. Not really original by any means, but a lot of fun. Worth searching out. –Ty Stranglehold (Stumble)


BOSTON CHINKS:
Coltrane: 7"
Youngsters from Memphis. There is one thing I can count on from Goner Records—ROCK. The Chinks are great! Quick and rough pop punk, somewhere in between the hooks of The Reds (pre-Marked Men) with gravel singing, but not annoying. Catchy, mostly clean with some static, it feels like a band with solid shit to come. They will be touring with/backing up Jay Reatard on his Euro tour. Let’s see who survives. –Speedway Randy (Goner)


BORN BAD:
Self-Titled: 7" EP
These guys lay down some really good Midwestern hardcore along the lines of Negative Approach or, more recently, Out Cold. The downside is that although the tracks are recorded nice and raw, the vocals are mixed down just a wee bit too low. Other than that, you could easily point yer speakers at the nearest wall and blow a hole clean through. –Jimmy Alvarado (Fashionable Idiots)


BLOWTOPS, THE:
P.S. This Is a Zombie: CD
Drudgy, sludgy, thick rock that lies between garage punk and the lawn mower in the yard—heavier and not quite as fuzzy horror as their other albums. Recorded for their Euro tour, but sort of lost until pulled up by Big Neck. I feel like it’s too different than their previous albums, more crossover here, where I thought they existed in a nice, fucked-up kids horror punk world. They still will be liked there, but the kid may make some friends now. –Speedway Randy (Big Neck)


BLOTTO / DRUNKEN BOAT:
Split: 7"
Blotto: It’s nice to think that the Midwest is a state of mind—kinda like the Beach Boys making anyone hearing their songs feel like they should take up surfing, no matter where they were. In the Midwest, people seem nicer and strangers will often look you in the eye without hostility. The bands are definitely heartier. Blotto fits in right nicely with The Modern Machines and Off With Their Heads, only they’re from Japan. And that makes perfect sense to me. Bouncy, rugged, ragged, smart punk with melody. I’m hardwired into liking ‘em. Drunken Boat: They’re getting better and better with each release because they seem to—instead of snuggling into a convincing patchwork of their influences from the Pogues (Their name is from a Pogues song {or a Rimbaud poem, take your pick}) to early ‘90s East Bay punk—are bleeding and sweating them out to a more pure and personal form to a voice all their own. Good stuff. –Todd Taylor (Snuffy Smiles)


BLANK DOGS:
The First Two Weeks: 12" EP
I feel like I’ve just been tricked. Everything Freedom School had released so far was so good. Everything has seemed so original and authentic. And then I listened to the Blank Dogs 12” and it’s so terrible I feel like I must be the butt of some terrible joke. And it would be a funny joke except for the fact that slow, lo-fi, echoed, drum machine, keyboard rock is no laughing matter. Hopefully the new Hunchback album will be out soon and I can forget this record was ever released. –Daryl Gussin (Freedom School)


BLACK SUNDAY:
Cut Out!: 7"
The true Memphis Mafia rages on. Alicja’s current band is on a roll, with the essence of Halloween-synth that she has perfected, maybe more poppy here in a good way. Great, infectious songs with a 4-track sensibility, minimalist keyboards, and jumpy beats. This 7” is Black Sunday “beta-version”: Alicja and Ryan Rousseau from Reatards and Destruction Unit. I like the other B-Sunday albums with different members, but for some reason, this pared down version hits better with me. Raw = fun. –Speedway Randy (Tic Tac Totally)


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