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

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Record Reviews

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Below are some recently posted reviews.

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Self-titled: 7”
There are precious few things you can bank on in the world of music, but one thing for certain is that anything that any of the members of The Marked Men do musically will be great. Their bands are a laundry list of awesome. Mind Spiders, Potential Johns, High Tension Wires, Low Culture… The Novice. I actually saw The Novice play a record store (Wooo! Trailer Space!) in Austin, but my first time in Texas, my heat-addled brain couldn’t really comprehend what was going on… I should amend that. I heard The Novice playing, while I was outside said record store pounding back beer after beer to try and beat the heat. I’m glad I finally get the chance to hear them again, this time in the confines of my igloo. Do I even need to tell you how great this is? I didn’t think so. Just get it. –Ty Stranglehold (Dirtnap)

Self-titled: CD
Straight-up, no-bullshit, huge-apple-right-over-the-plate European heavy metal. It’s almost as if all that Sunset Strip faux-glam misery never happened and bands like Witchfinder General ended up calling all the shots. Admittedly ain’t my bag o’ moose patties, but it was nice to hear something down this road that neither reeked of hairspray nor sounded like Muppets shouting about Satan. –Jimmy Alvarado (Gaphals, gaphals.se)

Cult: Cassette
This is the original Nirvana, not the Seattle grunge band, but the United Kingdom-based progressive rock band active in the late 1960s and early 1970s. You get twenty-five songs on this compilation of their career. No grunge rock here, instead you get a mix of psych pop, and some British folk rock. With the large amount of songs on here, you will definitely get a treat from the well crafted and interesting songs and maybe when you tell someone that you like Nirvana, it won’t be the over-hyped one that you’re talking about. Only three hundred cassettes made, so grab one fast. –Rick Ecker (Burger, burgerrecords.org)

Maimed for the Masses: 7”EP
With the title track, Night Birds add to the storied punk tradition of wrestling songs, dedicating this one to seventeen-time title holder and children’s book author Mick Foley (who’s wrestled under the names Mankind, Dude Love, Cactus Jack). Youtube “Hell in a Cell June, 1998” and see a man almost die. The twist is that the Frankensteinian monster seeks love, understanding. For that to happen, he must self-immolate, make himself more of an outward monster. Night Birds, for all accounts and purposes, are the sonic equivalent of that monster. A monster with a high pain threshold. A monster that can withstand a fall from the top of a cage onto the bare ground. A monster with kicked-in teeth, blood dripping out from embedded tacks across the chest, smiling, leering, wiping the back of its hand, striding to you, foul-breathed. “That the best you got? Keep naming past punk greats and watch ‘em crumple under my bandaged hands.” Today. At the top of the card. Superb four-songer. –Todd Taylor (Fat)

Born to Die in Suburbia: LP
Releasing your second album has got to be a bit nerve racking. Especially if you are Night Birds and you are following up one of the most amazing debuts in recent memory (2011’s The Other Side of Darkness). I can’t think of anyone who disliked it. The problem is, once you’ve released an album that good the world has something to measure you against and that can backfire in a hurry… Unless you are the goddamn Night Birds, who have managed to not only match their stellar debut, but surpass it! Born to Die in Suburbia takes the DNA encoded in the preceding records and injects them with a new vitality strand like some kind of Dr. Moreau-like experiment. The results are breathtaking. From the introductory cover of the theme from Escape from New York, to the album closing “Golden Opportunity” (which happens to be my favorite song on here), the album is damn near flawless. All the things that make Night Birds great are here. The relentless beat, the surf-damaged guitar, and the depraved tales of horror, science fiction, and everyday weirdness, but there is something more. There is a tough urgency that wasn’t there before. It’s an element that pushes the album to the next level. I can’t stop listening to it. Another interesting change in gears is the inclusion of a couple of slower tunes (“Nazi Gold” and “Less the Merrier”). They add a new texture to the album and are perfectly placed. Without a doubt, this will be glued to my stereo for the summer. Night Birds are one of the best damn bands out there playing today. –Ty Stranglehold (Grave Mistake)

Idiot Circus: 7” EP
Loosely delivered hardcore, rarely getting faster than a moderate trot and slightly reminiscent of Condemned To Death, with maybe a wee bit of the Fartz thrown in for texture. –Jimmy Alvarado (Deranged)

Birth Right: 7”
You know, I’m really amazed that in 2013 we still have to put up with people spouting the whole “punk ended in ‘79” or “hardcore was dead by ‘84” shit. Equally, these people seem utterly stunned that there are amazing bands cranking out killer punk rock today. If I am ever asked for an example of this, I almost always tell them to check out Neighborhood Brats. If there is any hope for these bitter, cranky old fucks to get a clue, this band is it. I became a fan from the very moment I heard their debut (courtesy of the review material of this very zine) and by now, I could be considered a zealot. Yes, they are that good. After the debut came a couple of great 7”s (We Own the Night and Ocean Beach Party) and now I’m happy to report that streak continues with this new one. Spastic and relentless are a couple of adjectives that come to mind. The music is tightly wound and Jenny is like a fusion reactor. She is pumping out massive amounts of energy but you just know she is on the verge of an explosion that is going to take most of the coastline out. Listening to this makes my blood tingle and the hair on my arms stand up. Three new NB songs and a Youth Of Today cover to complete the package. I like to imagine those jaded bastards hearing Neighborhood Brats for the first time and realizing that there is a band out there right now putting a lot of their old heroes to shame. Wake up and get with the Brats! –Ty Stranglehold (Deranged)

Promises to Deliver: LP
Alright, here goes. Sometimes there are people in our particular music community who just stand head and shoulders above most others. True musicians with innate abilities and quite obviously encyclopedic wells of reference with a grasp on their craft that most can never hope to achieve. Individuals who seem almost too talented, clever, and fully-realized to belong to what “outsiders” would consider a genre built on cutthroat delivery-yet-amateur ability. For me, from the first time I heard “Flash Infatuation,” Nato Coles has been one of these rare gems. While the Modern Machines gave us a glimpse of Nato’s gifts, and Radio Faces showcased even further progression into what he’d become, it wasn’t until Used Kids’ 2009 LP Yeah No that I feel like Nato found his own stream. For four years I’ve spun this record constantly, repeatedly shocked and awed by the Westerberg-by-way-of-Springsteen-via-classic-Motown-yet-somehow-unique songwriting and performance. And fuck, I was truly heartbroken when I learned that I was seeing what was reported to be Used Kids’ last show at Fest 8. I knew, however, that it’d be no time before Nato was back with something new, and if history were any indication, even better. Fast forward to Awesome Fest 5 in San Diego and my first peek at the Blue Diamond Band. Granted, the set was peppered with tracks from Nato’s previous output, but the band was on point and I was thrilled with the potential that jumped and howled and strutted before me. Skip to The Fest 11 in Gainesville and a setlist comprising the band’s new material. Jaws on the floor, mile-wide smiles, and beers being danced happily from their cups: Nato and company tore Nelly’s down and I knew that my man had trumped his already-amazing earlier self. And now, listening to Promises to Deliver, care of that cutie Mike Dumps, I can barely believe my ears. Immediately, I knew that I was hearing something I’d deeply love forever. Flawless performances and a sound reminiscent of one crafted by a young Jimmy Iovine aside, these songs are on an entirely new level. To attempt to justly describe them individually, or as a whole, or even how I personally feel when listening to them would inevitably fall well short. It is quite simply a brilliant, passionate, unbelievable record from a man (and his band) who has reached the staggering potential hinted at in those Modern Machines songs. To me, it could very well be the high point in our little world, in recent memory. It is almost too good. Almost. And at the risk of getting way too corny about it, I honestly want to thank Nato for these songs and so many before them. Dude: wow. I really hope you’re so proud. Because I’m even fucking proud that this came out of something I’ve been a part of for so long. Dang. Dude has delivered. –Dave Williams (Dead Broke)

Split: LP
Angry music with political intent. Fuck the system and whatnot. Naked Agression has a twenty-plus year long history and All Or Nothing H.C. started in the late ‘90s. At certain point, music like this feels like it’s a game of Madlibs. “Fuck (neo-conservative buzzword).” “We’re being (word implying mass public has no free will)-ed.” It’s not that I disagree with the message, but the lyrics feel too simplistic for the ideas that are trying to be addressed. Political commentary is a tricky game. For fans of The Exploited, mohawks, and studded belts. –Bryan Static (Emancypunx, emancypunx.com)

Vow: CD
An unholy mix of Tangerine Dream, Pink Floyd, and Black Sabbath’s “Planet Caravan” spread across an entire full-length release. In short, the kinda shit that’d give Syd Barrett night terrors. –Jimmy Alvarado (Tee Pee)

Self-titled: EP
Whoa-ho-hoooo! This record is fargin’ awesome! A modern day band cranking out some early style hardcore punk with total abandon. Sounds like a lost recording from 1981. The style is raw and abrasive, and the delivery is urgent, not to mention catchy as well. It’s the sort of record where you’ll pound in time to the music on a table like it’s a set of drums. Six songs of greatness on this thing! These songs charge with pure attitude and a bit of recklessness. They also have some brains in the lyrical department, proving not all present day bands sing about nonsense. This is a “must get” record. –Matt Average (Heart First, heartfirst.net)

Nowhere Else to Go: 7”
Based on a previous single, I was expecting some more dour garage punk from ‘em, but this is a bit different. The title track is a rip-roarin’ bit o’ punk stoppage with a smidge of surf in the guitar solo. The flip continues along the same lines with a keyboard breakdown replacing the Dick Dale worship. Between this and its aforementioned predecessor, I’m guessing any future full-length will be quite the bee’s knees. –Jimmy Alvarado (Slovenly)

Self-titled: LP
In the early ‘80s, punk and metal squared off in the States. You had to make an either/or decision: metal dirtbag or punk cretin. Hair length meant a lot, how you were treated, if you were walking into a beating. Jean jacket or leather jacket were easy codes. There were serious consequences, silly as it sounds today. We’re talking before crossover which is another ball of bees. Between the intractable divisions, between the Sunset Strip hairspray buttrockers (like Odin—assless chaps with suspenders, egregious Spandex and hot tub abuse) and the hardcore punk equation of hair = shit hippie, one band, Motörhead, and one man, Lemmy Kilmister, was the keystone, the détente that both sides agreed didn’t slurp shit. Motörhead built the bridge between the two camps that hated each other. Make no mistake, dark waters still run deep beneath it to this day, but Kilmister built a durable brick monument with his sturdy hands. Motörhead’s metal wasn’t fluffy, wasn’t poppy. It was, and is, dangerous: face-moley, zit-rocky in a Hawkwind-meets-Sabbath way. It was straight-forward, not solo-drenched, Chuck Berry-informed, wank-in-check, and hard, which punks got behind. (Let us not overlook the power that the bullet belt and all-black attire has had on punk accessorizing.) Motörhead’s song topics were unabashedly rock’n’roll: fucking, white drugs, brown liquors, WWII tank battles, gambling, and bad luck. It’s not PC music. Nor is in anti-PC. It’s rock’n’roll. This is a re-issue of the first 1977 LP, originally on Chiswick. Lemmy, Phil “Philthy Animal” Taylor, and “Fast” Eddie Clarke ran their black flag up the pole and let it fly, creating the rarest of rare: a place where people of different nation-states of music who fucking hated one another’s guts could celebrate the power of music together with few getting stabbed or shot or bombed or threatened with mutual annihilation. No small feat. I’ll end with a piece of unsolicited advice: look beyond “Ace of Spades,” (which isn’t on this record), dive into Motörhead’s nineteen other studio albums, and revel in this superpower’s consolidation of punk and metal. Hail the War-Pig bastards. –Todd Taylor (Drastic Plastic, drasticplasticrecords.com)

The Dawn: LP
Italy’s simultaneous answer to the burning uterine sensations of Muffs, the Bangles, the Like, and Shannon & The Clams ((and, less obviously, to male-tinged Americanoid outfits like the Midwest Beat or Gentleman Jesse)), the marinara sauce of my ardor for this band remains at a slow simmer instead of a bubble-popping percolation largely because they have yet to write that one real beret-flipper of a song that elevates the rest of their material by association. Lots of decent songs here, but no real prostate-milker; i feel kinda like i went to the county fair to see Katrina & The Waves and missed “Walking on Sunshine.” Pass the funnel cake. BEST SONG: “Little Boy.” BEST SONG TITLE: “Quack.” FANTASTIC AMAZING TRIVIA FACT: The crazy Europeans only capitalize the first word of their song titles, and are therefore out of compliance with the Razorcake style guidelines. Well i never! –Rev. Norb (Bachelor)

Fuzz: 7” EP
The title track is a fine bit of simple, repetitive growl. The remaining two lean towards the Kleenex school of post-punk, keeping things minimal but edgy. Nice bit o’ work. –Jimmy Alvarado (HoZac, hozacrecords.com)

“Apology” b/w “Appaloosa”: 7”
Catchy, bright, sunny pop. Reminds me of early Beatles, but what does that really say? Really, all rock’n’roll minus a few major exceptions shows some Beatles influence, if even unconscious. What I guess I’m saying is we’re all fucked because The Beatles did it first. Thanks a lot, The Beatles. Midwest Beat might not be a musical revolution, but they have written a pretty good tune. The average Razorcake reader will probably be turned off by its up-beat country riffage, but its shine shows through the right amount of dirt making the gem all the prettier. Good single. I don’t know if I could stomach an album of it, though. It is a little sweet. –Bryan Static (Certified PR, certifiedpr.com)

Totale Nite: CD/LP
Totale Nite is another shorter release from the Tampa, Florida, band Merchandise, with five songs in thirty-three minutes, and none of them come in at over ten minutes, unlike Children of Desire (the band’s last album), whose two best tracks both broke that mark. The first track on this album, “Who Are You,” starts with a harmonica, reminiscent of “Hand in Glove” by The Smiths. Remember how it seemed so wrong for what you thought you knew of the band (harmonicas only work for country music and bluegrass, right?). But like “Hand in Glove,” when you think about it, the harmonica works really well. The second song, “Anxiety’s Door,” has the band back in their 1980s Brit-pop groove, with an infectious beat and Carson Cox’s great Ian Curtis-esque vocals. “I’ll Be Gone” is a more morose piece with electric guitar droning out before the introduction of acoustic guitar and cool synths. The title track is the longest on the album at just over nine minutes. It starts with what seems like a reprise of “I’ll Be Gone” before suddenly stopping and shifting gears into a marching beat, guitar, and saxophone. Perhaps it’s the inability of the saxophone to truly complement the song, but things never seem to jive and it sounds as though the song is always about to fall apart. Closing out the album is “Winter’s Dream,” something that sounds as though it was taken from a Tears For Fears or Depeche Mode album. It’s slow and morose, but like some of the other tracks on Totale Nite, it has this one element (in this case an off-beat progression on the synths) that doesn’t jive with the rest of the production of the track. Merchandise has certainly shown themselves to be a band that doesn’t really care much about conventional styles (they’re a bunch of hardcore punks playing ‘80s-influenced Brit-pop and releasing it on tiny labels when they’ve had offers from some of the bigger indies), so perhaps they said, “Yeah, this saxophone doesn’t quite fit,” or “This synth riff doesn’t make things smooth, but who gives a shit?” However, it’s really unfortunate to hear songs not gel after Children of Desire, which was one of my favorite albums from 2012. I really hope this is just a misstep on their musical path. –Kurt Morris (Night People)

Split: Cassette
Meat Mist is from Kansas City and Morse is from France. Both bands listen to too much metal, but are weird enough to be pretty fucking fun. Meat Mist is so bizarre that there’s almost a Crucifucks vibe on some of the songs, which is a big time compliment. Morse isn’t any more accessible, which is also not a bad thing. Morse’s dual vocals are very cool, with a new wave-ish feel at times. If the demo tape resurgence of the past few years keeps leading to oddball releases like this one, I’m all for it. But there’s some major irony in the fact that the cover art suffers from a bit of dithering, which is typically a digital phenomenon. Now that’s a humdinger. –Art Ettinger (Self-released, meatmist.blogspot.com)

Split: 7”
One of those ol’ split singles where each band does one original and a cover of the other band. Mayflower have a real anthemic pop punk kind of sound that I cannot find another way to describe than Dillinger 4-like. Jeff Rowe is an ex member of the band Boxing Water and seems to be opting for the singer/songwriter wing of the punk/hardcore retirement plan. Both sides of this record feature tuneful, well written songs, which is becoming a very noteworthy thing in this day and age, unfortunately. –Mike Frame (Kiss Of Death)

Bloody Chronicles: 7” EP
This four-piece folk punk outfit releases their third EP, wielding mandolin, accordion, banjo, and bass. If The Pine Hill Haints are uptown, The Manx reside downtown with a little more dirt in their teeth and under their fingernails. Here they kick off these four new tracks with “Blood Gold,” pulling from traditional structures with a crisp mandolin intro which turns a corner into a banjo-shredding, porch-stomping affair. Rounding out the eccentricities so prevalent in folk punk, the boys from Los Angeles toss in a micro Korg and tinkly glockenspiel heard in “Husky Tavern,” distinguishing it from the rest of the herd. While they can clearly create a lot of melodic jangling, I’m not struck by much of a range as one song falls into another with the same time signature. Perhaps they could take a few pointers from their uptown counterparts. –Kristen K. (Sweat Band, sweatbandrecords@gmail.com)

“Cat Food” b/w “Tree House”: 7”
 “Cat Food” is a mover with overdriven vocal delivery. I can’t make out the lyrics well enough to tell what cat food is a euphemism for, but I think it’s dirty. “Tree House” switches to a more tom-heavy beat. Nice record. –Billups Allen (Goner)

“Evil” b/w “Slave to You”: 7”
I had the best dream. It’s 2013 and contemporary Bad Brains was secretly swapped out with Low Culture, like coffee at an expensive restaurant. Punks looking up to big stages are saved a rambling, lackluster reggae sermon and are instead blasted by one of America’s best punk bands. Low Culture: anxiety and insecurity rarely sounds this confident and secure, amplified and powerful. Because no matter how much I say, “Lightning bolt strikes adobe gold!” about Low Culture, it’ll fall on deaf ears to “thirty dollars is a reasonable ticket price” punks. It’d be also be fun to see Bad Brains in back yard or a small club. If it was 1982, with back flips and hardcore, not the soft stuff they’re peddling now, kind brother. –Todd Taylor (Drunken Sailor / Cut The Cord That…)

Adrenalized Hearts: 7”
Yet another single in the blitzkrieg that The Livids have unleashed in the last several months. By my count, this is one of four singles this band has released since the beginning of the year. This is just absolutely smokin’, high energy garage punk featuring Eric of New Bomb Turks on vocals. Turks comparisons are inevitable given the vocal style, but that could never be considered a bad thing coming from me. The band also features Jami Wolf of Zodiac Killers and Glamour Pussies on guitar so all you Rip Off Records fans will wanna be all over this. This is just a goddamned great single. This band is maybe the best I have heard playing this style of punk in a decade. Here’s hoping there’s a plan to head out West sometime for some gigs. –Mike Frame (Oops Baby, oopsbabyrecords.com)

: 7”s
Three 7”s released simultaneously-ish (I think there’s a fourth, but can’t find it) heralding Eric Davidson’s (of New Bomb Turks) return to wax. Apparently, the band has been around since late 2011 but I’ve only heard of them when these records dropped. Also featuring Jami Wolf (Zodiac Killers, Shop Fronts—a New York garage-punk band from the middle of the decade. Saw ‘em a few times and liked ‘em. Don’t know if they ever released anything. Now it makes sense why Zodiac Killers played their last show in New York!) Davidson’s vocals are strong as ever but the mix is pretty even so he doesn’t drown out the band. Fans of New Bomb Turks won’t be disappointed. “(Some of Us Have) Adrenalized Hearts” feels very ‘90s garage punk, in structure and song title. Much like the Turks’ recordings, these are good songs but the band is probably best experienced live. I hope to do that soon. –Sal Lucci (Oops Baby, oopsbabyrecords.com / Slovenly / Twistworthy)

Come On, People!: LP
By now you should know if you like France’s brilliant, classic Les Thugs. One of the best known, if not the best known French punk band of all time, Les Thugs played typical anthems, but with their own atypical, almost Euro-pop spin. Their only live album to date, this record was recorded during their brief 2008 reformation. An extended version is also due out as a double DVD/CD package with even more Thugs hits as performed at the 2008 reunion shows. Foreshadowing the sound that Jawbreaker would bring to the States years later, there’s a “can’t put a finger on it” quality to Les Thugs that makes them such a unique entity in music history. Live albums can be a real drag, but not this one. Acutely well recorded, Come On, People! captures the energy that Les Thugs still had, even in their all too brief reunion. Merci beaucoup, Thugs! –Art Ettinger (Slow Death, slow-death.org)

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