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· 1:Razorcake #81 Now Available
· 2:#326 with Tim Brooks
· 3:Featured Record Reviews From Issue #81
· 4:#327 with Kurt Morris
· 5:Webcomic Wednesdays #80


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Razorcake #81
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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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RACCOON:
Demo II: Cassette
One of the enduring passages from my history of reading zines is by one of the guys from (if memory serves well) Go Metric who said in a Punk Planet interview, that they sold the demos they got to review as Richard Hell live bootlegs. It was a perfectly indirect and perhaps unintentional summing up of the fine line between genius and slop that punk often walks, and one which the influence of a few pretentious rock writers can add value to or take away from as they please. I got the joke because, as a teenager, I was stoked to order a Richard Hell And The Voidoids live tape along with the seminal Bad Brains tape from ROIR Records. Expecting to hear “Love Comes in Spurts” the same way I heard it on Pump up the Volume and “Blank Generation” the same way I’d heard it on a Time/Life punk and new wave compilation, what I got was a shit recording of a shit show that had no business being released. I didn’t become a fan of Richard Hell until years later when I found a best-of tape in a cut-out bin. I think of that quote when I listen to Raccoon’s demo. It’s kind of slop, nowhere near the genius of Richard Hell’s larger work, but far better than that horrible, junked-out, live tape and probably the exact sort of demo the guy from Go Metric was thinking of when he made that quip. I’m not sure where I’m going with all of this, but this tape is pretty rockin’. –Craven (Self-released, 35lbraccoon@gmail.com)


PURITY CONTROL:
Adjusting: 7”EP
Throwing out the Infest card is too easy, but these Canucks have definitely fucked with that, make no mistake. Another good vantage point would be Left For Dead, which is timely, as their LP is reissued and reviewed in the issue somewhere. Unforgiving blasting hardcore, which may have me reaching for the ‘powerviolence’ label. No hints of metal, just a punishing one-two to the neck and face. Six depressive blasts of intense hardcore that barely gives you enough time to take a breath. Keeper for sure. Limited to 313 so don’t sleep –Tim Brooks (Purity Control, puritycontrol.bigcartel.com)


PLIMPTONS, THE:
The Life and Death of Colonel Plimp: CD
After existing for approximately thirteen years, Scottish band The Plimptons are disbanding and The Life and Death of Colonel Plimp serves as their swan song, although it’s really just a retrospective. There are nineteen tracks in fifty-two minutes and almost all of them are overwhelming in their annoyance. I haven’t been forced to skip past so many tracks on a CD in a long time. It’s either the weird organ that sounds like it is from a circus or the vocals that kept reminding me of comedian/talk show host Craig Ferguson, but either way, I couldn’t handle this. Although Nardwuar is a fan of the band, I can’t in good conscience recommend it. They may have a cult following, but I’m not drinking the Kool Aid. –Kurt Morris (Self-released, theplimptons.bandcamp.com)


PERSPEX FLESH:
Self-titled: 7” EP
An interesting take on hardcore here. The couple o’ tunes that rev up the tempos are good, but the real gems come to light when they slow down. Things take on a hue of anguished fury that recalls both the intensity of the finest of Scandinavian fjordcore and the brute simplicity of Midwestern hardcore. Best of all, when the last of the four tunes here winds down, you’re left with that aching feeling that what was given you was nothing more than a snack to tide you over ‘til they decide you are worthy of another sampling. –Jimmy Alvarado (Video Disease, videodisease77@gmail.com)


OPEN SEX, THEE:
Self-titled: Cassette
Meandering between psychedelic and shoegaze, this five piece out of Indiana makes me want to crack open a beer or smoke some weed. These are sweaty, sunshiny summertime tunes with Miss Mess on vocals, sounding like Grace Slick meets Kathleen Hanna circa Le Tigre. Her nasal cry floats from orgasmic to indifferent, while prog rock chords ebb, crest, and crash. “Gimme Away” veers into garage with a ‘60s Chuck Berry pogo structure while “Light of Love” and “Live Dead” show off their musical chops. The latter is an epic, six-and-a-half minutes of scat singing, rife with “oohs and ah ahs” that gently escalates to what I can only imagine must resemble a religious rapture if seen live. Not your typical debut, this is well crafted rock’n’roll at a comfortable 25 mph, much like The Velvet Underground. Recommended. –Kristen K (Let’s Pretend)


ODDCZAR:
One Word: LP
Noisy, emo-tinged hardcore fulla screamin’ and hurt feelin’s. Blech. –Jimmy Alvarado (Bitter Melody, bittermelodyrecords.com)


OBNOX:
Smoke Woody Haze EP: 8-Cut 12” Maxi Single

Lamont “Bim” Thomas has been in two powerhouse bands, from the duo Bassholes with Don Howland (the song “Daughter” still stops me cold), to the peace-through-superior-Cleveland firepower of This Moment In Black History. All bands are very worth seeking out in both past and present tense. Obnox is Lamont front and center on vocals and drums. This EP matches Lamont with different hip-hop folks providing the beats, rhymes, and production. I mean, fuck, how many examples do you need of a guy who gets it right musically so often? Great songs crush the empty boxes of flimsy musical genres. You want the hollow rattle of a spent cartridge of something merely shiny or a loaded chamber racked when the purist police and big industry come knockin’ your front door down? Lamont’s been cleaning his weapons, smoking weed, got his Arts and Sciences degree. His answer’s written on the door, plain and simple. Definitely worth your time and purchase.

–Todd Taylor (12XU, 12xu.net)


NIGHTMARE BOYZZZ / YOUNGER SIBLINGS:
Split: 7”
My pal George and I were lucky enough to catch the Nightmare Boyzzz for the first time this last March, on a multi-billed gig with Los Vigilantes at a warehouse show out in the SouthBay here in Los Angeles. Motherfucker! I know our own Todd here at HQ had reviewed something they did not too long ago, but why the hell haven’t I ever checked this band out the last two years they’ve been at it?! Without a doubt, thee best band happening out of Alabama as we speak (Muscle Shoals, to be exact). Imagine if Radio Birdman and The Marked Men had bastard children that were raised by The Beach Boys, and instead of sending the little heathens off to summer camp, The Beach Boys would ship them off to their Uncle Johnny, Joey, Dee Dee, and Tommy’s house for the summer. Well, those same little heathens have grown up and are now the Nightmare Boyzzz. My favorite “Surprise, Dale! You big fuckin’ dummy!” band of the year so far and I can’t recommend ‘em highly enough. Oh, that other band on the split? The folks at Fat Sandwich really should’ve tossed those two throwaway tracks so the Nightmare Boyzzz could’ve pressed more than just “My Body Breaks Down” and “Devil III.” Nab this and anything else the ‘Boyzzz have available. Immediately. –Designated Dale (Fat Sandwich, fatsandwichrecords.com)


NIGHT BIRDS:
Maimed for the Masses: 7”
Night Birds have got to be one of the best bands going right now. I haven’t found anyone who doesn’t like them yet. Their debut LP The Other Side of Darkness and their 7”s get played a lot around here. Now they’re back with some new tunes and a new guitarist. It has to be a bit stressful to come back after replacing a key member of the band. Will the songs change? How about the style? I’m not sure if these things went through the heads of the remaining Night Birds, but I’m happy to say that they needn’t worry about it. New guitarist PJ is up to the task and adds a new element to the songs while distinctly sounding like Night Birds. They cover a wide range of topics on the record (pro wrestler Mick Foley, medication, auto-erotic asphyxiation) and it closes out with the instrumental “Boat Trash.” It is obvious that with time the comparisons that follow the band are fading away and now they just sound like Night Birds. That’s fucking awesome! –Ty Stranglehold (Fat)


NAZI GOLD:
A Message of Love: LP
From what I’ve been able to gather, this is the debut long player from an Austin-based band comprised of members of Fleshlights, Dead Space, and Swans. My experience with Swans is limited to their early material, and I know fuckall about the other two, but what’s goin’ on here is on the indie/post-punk tip, with the dissonance reined in a bit to showcase a bit more tunesmithing than flat-out skronk. Nice bit o’ work. –Jimmy Alvarado (Super Secret)


MOIRA SCAR:
Scarred for Life: CD
Performing in what they describe as “homemade shaman masks,” this trio out of San Francisco sways from doom to electro punk. Some may dismiss this as experimental noise or just plain weird, but for those that stick it out will hear Nina Hagen’s endearingly screechy antics in “Miss Funcktion” and the verbosely titled, “Magician’s Rant///Ossuery Querry///Spilt Potion.” Changing it up, the three set their trajectory for the stars with the aptly named “Space Time Resonators,” with Man or Astro-Man? keys. The title track is a disorienting house of horrors, falling back on operatic vocals and a chunky bass line fit for an execution which turns disturbingly maudlin. “Telepathos,” probably the most accessible track, ties in early Siouxsie Sioux banshee cries stretched over synth pop keys. High on the creep out factor, this could be a lo-fi soundtrack to a Dario Argento flick; perfect for spooky punks. –Kristen K (Resipiscent)


MODERN DAY RIPPERS:
Rip it Up in a Modern Way: CD
Catchy punker ditties with clichéd titles like “I Believe in Pills,” “Abortion (I’m An)” and “I Want Your Hole” performed by folks named Richard Bastard, Chris Shitface, and Germ. –Jimmy Alvarado (Sexy Baby)


MODERN ACTION / SWINGIN’ UTTERS:
Split: 7”
I can’t say enough good things about Modern Action (both the band and the label). First as a band: They continue with that super catchy, punk rockin’, bouncing up and down thing (street pop?) that they started with The Bodies, and add to it. You feel the songs. My only complaint is the infrequency that new stuff comes out (although compared to The Bodies, they seem pretty prolific). As a label, Modern Action does a great job of not only putting out stuff by bands I know and love (Smogtown, The Bodies, The Briefs) but have introduced me to some of my new favorites over the last couple of years (Neighborhood Brats, Amoebas, Sharp Objects, Modern Pets). Now here they are joining forces with stalwarts Swingin’ Utters. While I have always appreciated the Utters, I’ve never really gone crazy for them like a lot of my friends do. Upon hearing the song on this split, I may have to rethink that. It’s a great tune. It sticks in my head (actually both band’s songs on this record do), and I love it. Great job once again. I’m off to flip the record. –Ty Stranglehold (Modern Action)


MIDAS FALL:
Wilderness: CD
Sarah McLaughlin on an ambien(t) trip. –Jimmy Alvarado (Monotreme)


MEAT WAVE:
Self-titled: Cassette
Okay, I’m about so say some crazy things, so let’s set this straight: This is the best piece of music I reviewed this month. It reminds me as much of Nirvana as it does the Red Dons. I tried to tell a friend it hits somewhere between The Marked Men and Shellac. The music ranges from chaotic to straight-forward punk melodies. It hits a weird spot, one where the formula of rock’n’roll sort of spirals out of control and the connections between itself and other music becomes confusing. Original, interesting, and endlessly comparable, yet still unique. Oh, here’s another one: The Brokedowns meets Les Savy Fav. Okay, I’m done. –Bryan Static (Let’s Pretend, letspretendrecords.com)


MAX LOAD:
Self-titled: LP / CD / DVD
An aptly-titled release, as this LP + CD + DVD package is likely the max load of Max Load—KBD-era art-punks from the Illinois part of the St. Louis sphere of influence—that could possibly be collected together in one place without adversely fucking up Earth’s gravitational pull or something. While the band’s original “X-Rod” b/w “Magazine Sex” 45 is a nice complimentary piece on compilations of its era, i couldn’t really call it a “classic” in good faith, which kinda calls the gravitas surrounding the additional twenty-two demo cuts which round out this package into question. I mean, it’s interesting enough—in an “Unnatural Axe buys a keyboard and gets really, really into it” kinda way, crossed with a second side of those Rodney on the ROQ albums kinda way, occasionally almost crossed with a first Kings album but not really kinda way—but i see this more as a historical courtesy than a Rock Imperative. That said, “Va-Va-Va-Vicky” reminds me more of “B-A-R-B-R-A Barbra” than it does “L’L’L’Lucy,” so i think we’re all all right, as Robin Zander once opined. BEST SONG: “You’re a Blur.” BEST SONG TITLE: “Rapidly Expanding Universe.” FANTASTIC AMAZING TRIVIA FACT: In direct defiance of Rock Orthodoxy, the record cover depicts a number of horizontally-striped-shirt-wearing band members, although the cover is composed of individual photos which may not have been taken at the same time. –Rev. Norb (BDR, RerunRecordsSTL.com)


CRASH HOUNDS OF AMERICA:
Trash Heap (2009 – 2013): Cassette
Couple of porknobs whose recording equipment is as key to them jerking off as the internet is to the rest of us. –Craven (Self-released)


MATTHEW HART:
“From the Backyard” and “Do You Ever” b/w “Topanga Days”: 7”
Being a human being and simultaneously being an honest record reviewer is a tough gig. Words have consequences when backed by real life, right? I tell people I know, “Please don’t give me your record if you don’t want my honest opinion.” Because if I lie, I’m lying to myself. I’m lying to them. Thirdly, I’m lying to you, who’s reading this review. That sucks. The other side of the see-saw is the word “criticism.” It’s not code for being an unholy asshole and hiding behind the veil of “no consequence will happen if I tear this record a new one.” Couple that with the fact that I truly don’t want to see my friends fail at life, and perhaps you can appreciate a little bit of the big ball of kitty cat yarn this becomes. It’s far from abstract. So, yeah, Matt’s my friend. We laugh our asses off and do stupid shit together. I’d heard versions of these songs on a longer demo CD. Big ups go to Andrew Schubert of Ghostbot for not only selecting the best, least future-embarrassing songs (like the weed one), but capturing the light/serious, poetic/unpretentious, thinking-hard/not-thinking-at-all-are-you-a-fucking-keener? duality of these three songs and Matt’s personality. For those of you who want all grindcore all the time, you’ll be fuckin’ disappointed. Patch soiled. If you want unembarrassing catchy songs that are punk-saturated in the cloth and fronted by an acoustic guitar—bronze, silver, and gold versions of this record are waiting for you. There’s absolutely no way I would have paid for the box set just to make Matt happy. Fuck that. I’ve got important Chinese food to eat. Insert compelling ad copy here. –Todd Taylor (Ghostbot)


MASKED INTRUDER:
Self-titled: CD
Did the “Teenage Dirtbag” band change their name to Masked Intruder?! The Wisconsin-based foursome seem to have worn out their copy of “Pop Punk 101” with their Fat Wreck debut, which comes complete with a gimmick (multi-coloured balaclavas), a heavy Chixdiggit influence, and harmonies that The Supremes would’ve been jealous of. There’s pop punk and then there’s pop, which is the category Masked Intruder falls under. The music on the album is harmless and completely inoffensive, but if this is even remotely punk rock, then I’m Monica Bellucci (spoiler: I’m not Monica Bellucci). Hearing the lead vocalist’s look-Ma-I-just-finished-puberty voice singing about how he’s got a knife and wants your money on “Stick ‘Em Up” makes you chuckle and want to pat the cute little guy on his head. “Don’t worry, son—you’ll get your ten dollar allowance tomorrow!” For all you grown punkers with spawns, your kids will probably like this music, and it’s not the kind of pop punk that’s so bad that it makes you want to break out your gat at the neighborhood Hot Topic. The songs are saccharine, shallow, and way too produced, but they’re also catchy as hell. You’ll hate yourself tomorrow when you find yourself singing “In a world of nightmares you’re a sweet, sweet dream / Just about the prettiest thing that I’ve ever seen.” Trust me. –Rishbha –Guest Contributor (Fat Wreck Chords, fatwreck.com)


CRAPPY DRACULA:
Concerns of the Modern Womb Wiggler: 7”
Crappy Dracula is Gerard Butler, who played Dracula in Dracula 2000. Some may argue that Frank Langella was a crappier Dracula, but they are incorrect. On this record, Gerard Butler Dracula plays exsanguinated and dizzy jazz squawks about the horrors of Bill Cosby and weightlifting. Regardless of how weird you may feel after listening to this record, you are safe. Crappy Dracula cannot hurt you. Only a noncrappy Dracula can hurt you. –MP Johnson (Eeefin)


MARTHA :
Self-titled: CD
I LOVE THIS EP MORE THAN MY PARENTS. OH MY GOD. IT’S POWERPOP AND PERFECT AND I’M GOING TO DANCE TO THIS UNTIL I VOMIT. If this is what happens when Nathan and Daniel of ONSIND get two more talented musicians and play as a full band, then I’m shipping them every talented musician I encounter. Which means all you jerks are safe. –Donna Ramone (Discount Horse, marthadiy@gmail.com, marthadiy.bandcamp.com)


CONGENITAL DEATH:
From My Hands: 7” EP
I’m always a bit amazed by the tenacity of certain punk/hardcore subgenres, in this case grind/powerviolence. One would’ve figured that, given its more or less limited scope, it would’ve faded away a few years after quickly reaching its apex, but no, it lives. Congenital Death are the purveyors of this brand of über-thrash clocking in with all the drumroll-speed sturm und drang one has come to expect. Me, I would’ve been more impressed if they’d approached the style with the guitars ‘n’ drums replaced by more unconventional weapons, like congas, banjos, and violas. –Jimmy Alvarado (Ranch)


CONFINED:
Demo 2012: CD
There’s been a drought of good straightedge hardcore bands in the last few years. Confined has stepped in to fill this void with one of the most promising demos I’ve heard this year. If you like melodic but moshy youth crew hardcore with catchy riffs that make you want to get low, pile on, and sing along, look no further. “Back on My Own,” is Confined’s straightedge anthem, lyrically tackling all the themes one would expect from such a song, with a great breakdown and a chorus you can’t help but want to sing with. My favorite track, though, was the second track, “Lost in the Light,” which tackles the subject of trying to find one’s place in the world. The track features fast and thrashy verse parts leading into my favorite breakdown on the demo, with great gang vocal part. I can’t stop listening to this, and you won’t want to either. –Paul J. Comeau (briantravisgeller@gmail.com)


LOW DÉRIVE:
Do•Make•Walk•Sing: Cassette
Wow. These Italian guys put out a cassette in a limited edition of seventy copies and the album—all dozen songs—flat out smokes, man. Layered, catchy pop punk akin to Direct Hit or Challenges. And the tape even features a hidden track. My respect grows, nerds. –Keith Rosson (Low Dérive)


LOW CULTURE:
Screens: LP
Another Marked Men (and Shang-A-Lang) affiliated group and, yes, another danged corker of a release. Great riffs, great vocal lines, great goddamned garage-tinged punk/pop tuneage—at this point I’m just plain awed by the track record of flat-out awesomeness these cats are rackin’ up. We’re a scant few months into the year, but I’m willing to bet this’ll top a lot of 2013 top ten lists. I can tell you with absolute certainty that this schlub will be wearin’ this slab o’ wax down to the nub in short order. –Jimmy Alvarado (Dirtnap)


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