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Razorcake #90
White Murder, both LPs
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Record Reviews

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The Horn Song b/w Wake Up: 7"
I’ve seen them live and heard other recordings but it never sounded like this before. Wow. These two songs can be summed up with this comparison: Stone Temple Pilots meets the Partridge Family. Eek! –mrz (Contaminated)

Self-Titled: CD
Punk/hardcore with a heavy metal streak running through it. Didn’t really pay to much attention to the lyrics, but with song titles like “Spooge,” “Sword Fight” and “Antabuse,” I’m figuring they aren’t based on the writings of Lao Tzu, Longfellow, or Lenin. Maybe Freud, though. –jimmy (wifebeaters@hotmail.com)

Warped Tour 2005 Compilation: 2xCD
Another installment of the annual suburban fashion punk parade. Lots of bands like Fallout Boy, Amber Pacific (which I thought was a beer at first), Plain White T’s, Rufio (or Goofio if you prefer) and every other swoop haircut emo punk wannabe flooding the airwaves and TV right now. I hate to say it, but the Hot Water Music song sucks, too. It’s good to know that in our country that’s falling apart, kids still have safe punk rock to listen to. The corporate sponsors try to add street cred with bands like Gogol Bordello (a Russian gypsy band), Strike Anywhere, and the Unseen. But don’t be fooled, they just want to sell you an image. When the Warped Tour can try to help better our washed-up consumer culture I might give a shit again. Until then, take your suburban angst to the mall and buy a fucking conscience. –Buttertooth (Side One Dummy)

This Just In...A Benefit for Indy Media: CD
The people at Geykido Comet (who are some of the best people I’ve ever met) brought together twenty-nine bands (almost all of whom I fully back) to benefit Indy Media (a group whose mission I admire). You really can’t go wrong here. My count is twenty-five out of the twenty-nine coming in at decent or better, which is none too shabby. Added to this is the fact that twenty-two of the tracks are previously unreleased, and the remaining are relatively hard to come by. Strong tracks from Toys That Kill, Killer Dreamer, the Leeches, and This Is Revenge. Even bands that I like enough, but haven’t been wowed by, like Lipstick Pickups and Intro5pect, have impressively strong tracks here. Well worth picking up. –megan (Geykido Comet)

Take Penicillin Now: CD
This one’s pretty fucking good. Consider it a G7 label sampler if you want to, but this CD somehow manages to transcend that ugly term of “sampler” despite, or maybe because of, the extremely limited packaging, but mostly just due to the bands on this thing, the quality of the songs and the brilliance of the idea itself. The CD cover is a close up of the anthrax-filled letter sent to Senator Tom Daschle back in October of 2001, the inside of the case simply says “Take Penicillin Now” and the insert simply lists the bands and the songs. There’s no contact information beyond that, but there’s also no accompanying catalog or rhetoric-filled hype about how amazing the bands are, which pretty much constitutes the death kiss of most label samplers in my opinion. There’s not even any contact info for G7 itself. There’s a smattering of apparently unreleased stuff on here, including songs by Propagandhi and Submission Hold, and other standouts include Greg Macpherson’s amped-up version of “Southern Lights,” the best song from Warsawpack I’ve ever heard, the haunting and subdued rage of “How Far Are You Willing to Go?” by Bakunin’s Bum, and Randy’s fist-in-the-air anthem “Losing My Mind.” But when you’ve got a comp as diverse yet solid as this one, with everyone from Swallowing Shit to The (International) Noise Conspiracy vying for space in your head, you’re gonna come out a winner one way or another. For more than a few years now, G7 has proven itself to be, as much as something inherently consumer-based as a record label can, thoroughly resistance-minded. The wonderful thing about this comp is that the music is the focus; it’s a document, rather than a sonic catalog. The minimal packaging flies right in the face of collector-nerd mentality, of limited releases, and colored vinyl and an emphasis on moving units and all the trappings like that. It seems to be entirely about the music and the messages contained within the songs. For that, I applaud G7, and with Take Penicillin Now they’ve put themselves up there as one of the most diverse, yet consistently solid, labels out there today. –keith (G7 Welcoming Committee)

Kiss or Kill Volume 2: CD
Dunno what it is about these so-called Kiss or Kill bands, who are all apparently connected via their involvement with a certain L.A. club with the same name, but something about them just hits all the right buttons. Maybe it’s the odd droning chord stuff that reminds me of Hüsker Dü’s heyday, or the anthemic quality in a chorus that reminds me of Cheap Trick’s best work. No doubt it has something to do with the fact that while all involved flaunt more than a little punk and pop in their respective sounds, not one of them sounds like they have aspirations of being a NOFX cover band. Ultimately, I guess, the whys and wherefores are of no consequence, ’cause whatever the reason, the songs here are quite good, with hooks sweet enough to cause a hypoglycemic fit if you’re not careful in abundance. Making a contribution this time ’round are The Randies (who’s “Boys in Stereo” was the best tune off the first volume), the OAOT’s, Bang Sugar Bang, The Waking Hours, Zeitgeist Auto Parts, Silver Needle, The Cloves, Bobot Adrenaline, Chromosome Tea, The Letter Openers, Underwater City People, Billion Stars, The Rainman Suite, King Cheetah, The Knives, and Midway. Play it loud and play it often. –jimmy (War Room)

Flesh Wave #1: CD
You gotta love a hardcore comp featuring five bands—in this case Death in Custody, The Bill Bondsmen, Goddamn, Pub Life, and I Accuse—that clocks in just shy of the first Circle Jerks album. Each band contributes two songs each, some of ’em unreleased, most of ’em speedy, and all of ’em pretty good. Judging from the packaging, this is a wholly DIY affair, which makes the whole venture that much sweeter since this ain’t some label’s sad attempt to peddle crap bands in your direction and no missile defense contractor’s gonna make a tidy profit off your spending money on it. Very much worth your time. –jimmy (Fleshwave@hotmail.com)

Alternative Animals: CD + CD-Rom
I love this type of stuff. This is a historical document of the Australian punk scene between 1976-1979 featuring exclusive, live, unreleased, and rare tracks by the better known bands—Saints (who get the first two cuts, hell yeah!), Radio Birdman, and X—but not stopping there. Great pains have been taken to recreate a cross-section of time, so there are lesser-known, but no less great tracks by Babeez, Psychosurgeons, and The Leftovers. (Plus a smoking track of a band Nick Cave was in, Boys Next Door.) The music speaks for itself. It’s mostly noisy, melodic, driving, and resilient. But it doesn’t stop there. The CD-Rom’s full of family trees, fanzines, posters, and photographs: the whole shebang. It’s a time capsule. The only bad news was I couldn’t get the CD-Rom to work on my computer. Dang. I highly suggest seeking this out if you’re a punk hunter or a purposeful obscurity tracker. What a tidy package—obviously the result of a heap of work. –todd (Shock, www.shock.com.au)

Wants You Dead: CD
This is very “intelligent”-sounding postpunk that lies somewhere between the Hot Snakes and the 400 Blows, with a little late-period Fugazi thrown in, especially on the vocals. It’s pretty damn good. In fact, the only negative thing I can think to say about this is that they were trying too hard to come up with clever song titles, and it comes across like the class clown in middle school that was a nice enough kid, but was just always trying too hard to get attention. Still, I guess I’d rather listen to a song called “1 800 PUPPIES” than one called “Let’s Go, Baby” or some shit like that. Other than the song titles, though, this album rocks pretty hard and I think you should buy one. –ben (New Regard Media)

Demo: CD-R
I usually hate the mystery demo. When I see that it’s a CD-R, I cringe. But I always try. Here I get proven wrong by this mostly female band. The songs are very hard-edged, distorted garage that has the bass pulled up front in the mix. That adds the thump in the music while the guitar adds a layer of distortion and white noise. It also has elements of cow punk mixed with a hint of death rock that adds to the mood. The vocals are vampish with a dreary and fierce delivery. It reminded me of some of the vocals that Concrete Blonde has done in the past. Interesting and looking forward to hearing more. –don (Tsk Tsk)

Split: 7"
I had the misfortune of living in Springfield, Missouri for a year once. What a shitty town. The buckle of the Bible Belt. Both bands on this split reside there. Trixies and the Merch Girls play lazy acoustic stuff with some female backing vocals. Mellow and uninspiring. The Jim Jims bore me as well. One song is crappy slop pretending to be dirty rock and roll. The other song is a simple punk song that a twelve year-old could write. It’s a waste of good vinyl if you ask me. –Buttertooth (Wee Rock)

Where the Neon Turns to Wood: CD
These guys blow me away! The entire record is incredible. In fact, when I set a show up for them a few months later I had noted on the flier that this band makes all other alt-country, before and after, obsolete. It’s kind of a bold statement, and I am not sure if I completely agree with it, but they come pretty close. It’s not really accurate to describe them only as an alt-country band, because there are so many more aspects to their music that automatically get dismissed when they are classified in such a specific genre. I guess if Uncle Tupelo were to only cover Iggy Pop songs with Isaac Brock on vocals, only way cooler than this statement could ever be interpreted. Even though it is an accurate description, hearing it without listening to the music first would just turn me off, so sorry if that’s what you are thinking. Trust me. These guys are really great. The musicianship on the album is astounding. The drummer is killer, and has an uncanny rhythm and a grasp on dynamics of his instrument as played throughout an entire song. He makes flawless stops and build-ups throughout the entire album. The guitarist plays some riffs so fast and catchy that I can’t even understand them after witnessing them live. The lyrics are excellent. The artwork is great. This is an album that everyone into punk with a country twang will love. If you aren’t into the genre, this is the perfect gateway. I highly recommend everyone hear this CD. –Guest Contributor (Trainwreck Riders)

Mata Al Contacto: CD
The Motörhead comparison is a little dubious, since so many bands in Mötorhead shirts have either glossed that sound over (the Turbo AC’s, for example) or turned it into boring fat guy rock like Electric Frankenstein. These guys haven’t made either of those mistakes. It’s loud, heavy, fucked-up rock and roll, simultaneously abrasive and oddly catchy. And yeah, it sounds a little bit like Mötorhead if they were a notch more punk and they were from a town that lost four straight Super Bowls. –Josh (Big Neck)

Peel and Eat: CD
Sounds like David Yow fronting Jaks or some other art-fuck damaged band. They even cover a Scratch Acid song, but since I don’t care for that band either, I have no idea how faithful or inspired a rendition it is. This record also serves as concrete proof that the world honestly appears to be running out of good, or even decent, band names. If one were to judge Dead Beat Records solely on this release, one would surmise that said label has come a long way (and not necessarily in the right direction) from its old Viva la Vinyl comp days. From the same label that put out damn good (and arguably seminal) records ten years ago from J Church and Whatever, they’re now putting out stuff like this. I’m sorry to say, but after this CD ended, silence never sounded so good. Wasn’t my bag at all. –keith (Dead Beat)

Red States: CD
On first listen, I have to admit that I didn’t give this much of a chance. It reeked of all things hipster to me. Vocals with a touch of reverb and a ton of fuzz? Check. Keyboard? Check. Lyrics about popping pills? Check. But, something in me held off on the review. I kept returning to write it, but every time my opinion shifted the smallest bit. And then the hooks began to take a hold of me. The songs are structured well, but they stay pretty safe. I kept expecting that one song where they go out of their minds, but they never do. It builds you up for something that they don’t follow through on. I can’t say that I totally back this yet, but I’m not ruling out the possibility that this could grow on me. –megan (Tight Spot)

Split: 7"
The A-side of this record is a song called “Shake You Off.” I am going on record and saying this song has the catchiest vocal pattern I have heard in years. The singer hits two or even three different octaves throughout the verse, making it flow seamlessly. It’s basically indie rock, but there are hints of ‘50s pop in the back up vocal harmonizing during the chorus. The drummer sounds like he has listened to a lot of later, slower Hüsker Dü a la Candy Apple Grey. There is a nice little Moog-sounding keyboard line that if it was up any higher in the mix, it wouldn’t sound good at all, but it is layered nice and subtle. This is a really well-written song, recorded nicely, and I am disappointed there is only one from these guys on here. The second side is by Sybris. It’s very basic, slow, female-fronted shoegaze indie rock. Not nearly as impressive or original as the Ten Words for Snow song on side A. –Guest Contributor (Boyarm)

Looks Could Kill: CD
It sounds like The Sweethearts are trying to for a little more rock’n’roll with this album. Gone are the happy, poppy guitar bits, and the singer, Lynnette, seems to have traded in her bubble gum for liquor and cigarettes. I’m not sure how I feel about it. I kinda liked them better poppier. Looks Could Kill is still a pretty solid album. The Sweethearts are still catchy and fun. I’m sure this album will grow on me. It’s definitely a keeper. Still, I like it when they rock their Go-Go’s and Screeching Weasel influences more than their Runaways influences. –sean (Mortville)

With the Hands of the Hunter it All Becomes Dead: CD
Note to band: If I really wanted to be bored, I can do it myself. –don (Slow January)

Warfucked: 7"
The twenty-year reset button’s been pushed. In too many ways, 2004 and 1984 had bad things in common: threat of nuclear holocaust, “worst President ever, re-elected,” and picking fights with other countries for oil while putting bullets into innocent people. But on the up side, the thrash-a-holic golden age (that pube hair of time before crossover) of early DRI and Corrosion of Conformity and Plastic Surgery Disasters-era Dead Kennedys, where “shredding” could be applied to music and skating in equal measure, is being resurrected. In 2005, think Street Trash, Career Suicide, Caustic Christ, and Kangaroo Records. Strung Out stands true in that good company. My favorite track is their answer to the Beastie Boys’ “Fight for Your Right (to Party):” a fantasy of sessioning your parents house when they’re away on vacation that includes wallriding their big screen TV. –todd (Tankcrimes)

Our Oceania: CD
Them: Chuggachuggachugga. Howlhowlgrumblehowlgrumble. Doogadoogadoogadooga. Howlgrumblehowl. Chugggachuggachugga. Me: Yawn. –jimmy (Five Point)

Fight Forever: CD
I’m confused. The cover looks punk rock, with a bunch of show flyers with the Business and Blanks 77 listed in the background with a fist immersed in a star. Talk about false advertising. The music sounds like a poppy Warped Tour mess of bands like Strung Out and Bigwig. It even has a song, “Maybe One Day,” crying about a girl, which I have no qualms with, but the music and Blink 182 vocals create an instant response of nausea. The music sounds like it was made by a bunch of bros from San Diego or something. No offense to those from San Diego. I wonder if I could sue for false advertising? –jenny (SOS)

Gravity's a Bitch: CD
The Starvations were the first band that I went out of my way to listen to just because I had read about them in Razorcake. I remember reading the interview that they did and thinking that any band that could equate drinking with brushing your teeth was okay in my book. Don’t want to jinx them or anything, but so far, they’ve never let me down and I can’t completely put my finger on why I like them. They’re in a league with bands like the Gun Club and the Pogues: storytelling lyrics, similar instrumentation, and the ability to pull off both dirges and more uptempo songs. But the thing is that they don’t really sound like those bands, they just remind me of them. All three bands have a knack for taking inspiration from traditional roots music, but they never become slaves to convention; they weave in their own paranoia and make the music their own. –Josh (GSL)

Idle b/w Tickin: 7"
Two songs from a Brooklyn three-piece. Sounds like a mix of AC/DC and the Hunches, though these songs are more lackluster and tepid than that suggests. The band seems to be going for a straight-up garage rock approach, but tempering it here and there with the odd section of sonic fuckery or call-and-response interplay in the vocal department. Both songs are mid-tempo, and while they’re okay, it seems like the Spitting Cobras need to decide if they want to shoot for the genitalia-swinging sex-and-drugs rock approach (see: AC/DC) or all-out garage-noise spasticness (see: the Hunches). Otherwise they’re just toeing the line between the two, and the result is pretty forgettable. –keith (Wrecked Em)

God damn! I knew something was going to be good when I heard the opening chords. The first track has me hooked! This one comes right off the starting line and has me at attention. Track after track, it keeps my toes a tapping. As usual, I’m coming into the know a little late. Here I am at LP III and I haven’t heard the first two. I know the guys at Razorcake HQ have shown their affection for this band for awhile, but coming in late sometimes is a good thing when band has developed and become more focused in their sound down the line. Also, in this case, going to a bigger label also gives them more room to experiment and stretch their sound outside the box. Without a preconceived bias of what the band should sound like, I am more open minded on the music. I think that is what is happening here. So the first two tracks (“Multiply and Divide” and “!Paranoia Cha Cha Cha!”) reminded me of taking the rocking aspects of the Lunachicks mixed with dreamy melodies of the Dancehall Crashers. Track three (“Middle of the Night”) threw me for a loop and came off as Berlin or the Motels meets Charlotte Caffey’s onetime band, the Graces. It’s strong and punchy in a straight-up rock approach. I wouldn’t be surprised hearing this song on the radio for years to come. The rest of the album continues on with consistency. Great pop melodies with some grit to get your teeth chipped and wonderful vocal melodies that make me melt. This is so going to be in rotation in my car for a long time. –don (Fat)

Mystery Girl: CD
Sounds a little bit like the Who in places, a little like the fifth and sixth Jam albums elsewhere, and, when the band’s at their best, a skitch like the Vapors. Ultimately, this comes off as an album of glum, hookless power pop with harder rock interludes that doesn’t seem to be helped much by a. an ill-defined feeling of ambient social consciousness, nor b. the lack of overdubs, which, while a nice thought, seems to prevent the band from successfully articulating their vision more than anything else. This record is both a benefit for a women’s shelter and about two songs too long, so if tonight, in Chicago, a battered woman is turned away from the Greenhouse Shelter due to lack of funds stemming from this record not selling enough copies because it should’ve contained only twelve songs and not fourteen, as well-established Power Pop Aesthetic Guidelines dictate, you guys have only yourselves to blame. That really wasn’t very nice to say, but i’m upset that they didn’t call the album Boom! and am lashing out reflexively. BEST SONG: “Anniversary” BEST SONG TITLE: “Mystery Girl” FANTASTIC AMAZING TRIVIA FACT: Actually, the most fantastically amazing thing about this band (other than that it contains esteemed Chicago scenester Chuck Uchida) is that, for a little while during “Rockopera,” they actually sound like the Mystery Girls! –norb (Failed Experiment)

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