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· 1:An Interview with Soul Side’s Bobby Sullivan
· 2:Webcomic Wednesdays #146
· 3:We Came! We Saw! We Fested! - Fest 2015
· 4:#380 with Juan Espinosa
· 5:Webcomic Wednesdays #148

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Record Reviews

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Below are some recently posted reviews.

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The Beauty Between: LP
RVIVR is one of the best things to come out of Olympia, WA. They are a gender-balanced four piece (two guys, two girls) who harmonize with each other and play to a tight, driving beat while belting out some very inspiring lyrics. I feel that if music could give you a hug and tell you not only that things will be okay, but things will awesome, RVIVR would be the arms that held you. Their songs focus on change for the better while not letting life’s daily bullshit get you down. There is a fine tuned dichotomy between Matt and Erica’s vocals; the male vocals are euphoric and heartfelt while the female vocals are coarse and raspy. Coupled by strong lead and rhythm guitar parts, they create a marriage of melody. Together, it sounds wonderful. “Spider Song” is far and away the most important track on this record for me. It deals with relationships that are not necessarily on the outs, but rather slowly loosing relevance for both parties. “You can love someone and just not stay friends,” is a centerpiece lyric from this song. It also focused on self-growth and being okay in your own skin. On the B-side there’s a trilogy of darker themes called “The Hunger Suite” which pulls empathy right out of you. This triplet of tracks (subtitled “Go Away,” “Bleed Out,” and “Hunger”) transport the listener through feelings of utter abandon, self-deprecation, and a satiable urge for recovery. The lyric “I get so low, solo” in “Go Away” gets challenged with “Magic’s not gone from the world, it’s just harder to find” in “Bleed Out,” ending with “We want to be well” in “Hunger.” Musically, even through lyrics of pain and loneliness, RVIVR stays bright and uplifting with pop punk sensibilities, inviting you to sing along every step of the way. They recognize the difficulty in balancing contentment and depression and manage to find the beauty between. –Kayla Greet (Rumbletowne)

Lovers Leap: CD
It’s been awhile since we’ve last heard from Reno Divorce, the Colorado-based outfit led by Brent Loveday but here we are; a new CD thanks to the wonders of crowd-sourcing and Kickstarter. It looks like the band has an entirely new lineup since the last album, but maybe I am wrong. This stuff veers dangerously close to Social Distortion territory and Loveday himself sounds so similar to Mike Ness that it can be distracting. I cannot deny, though, that Loveday has really grown as a songwriter. I really think he could use someone to help him edit though, either a producer or another strong songwriter to help smooth out the rough spots, like some of the curious lyrical choices he makes.  –Garrett Barnwell (Rusty Knuckles)

Self-titled: LP
One of the pitfalls of reviewing gobs of releases over extended periods of time is that one can create mental snapshots of a particular scene/country’s music scene that might be a bit fallacious. Let’s take Sweden, for example. From Mob 47 to DS-13 to Regulations to AC4 to—well, you get the point—one inevitably forms a vision of an entire country packed with both snow and an entire population that is born and bred on a steady diet of Discharge and had embedded in its DNA the ability to effortlessly churn out some of the best punk/hardcore on the planet. I’m willing to bet large sums of money this isn’t true, and I have heard my share of less than stellar output from that region, but one making such a leap of logic wouldn’t exactly be out of the realm of possibility. Regimen does nothing to counter such a leap. With a bevy of (mostly) mid-tempo ragers that are inexplicably catchy amidst all the screaming and slamming, ye find yourself shaking an angry fist and shouting along with the Swedish gang-choruses that pop up like whack-a-mole heads, and at other times shimmy-slamming to many of the tunes’ odd surfy undertow. No, Sweden can’t be a punk paradise—c’mon, the law of averages dictates that there has to be at least one square block in that country that is infested with shitty bands—but this definitely makes it easier for some of us to dream such a thing is possible.  –Jimmy Alvarado (Gaphals)

No Expectation: 7”
I’ve always imagined Teengenerate and New Bomb Turks to be Japanese/American equivalents of each other. Both bands blasting out rip-roaring, fuzzed-out punk rock’n’roll heat that will make your hair stand on end and your ass shake. Later on in their career, the Turks began tackling some more mid-tempo, bluesy punk rock mixed in with their speed assault with fine results. That’s where The Raydios come in. Members of Teengenerate are doing something new, and as you would expect, rocking. Like I said above, the tunes here are more akin to the Stones-like swagger that the Turks were throwing down at the turn of the century and, also like the Turks, The Raydios pull it off with style. I want more than just three songs, and I’d love to see them tour over this way.  –Ty Stranglehold (Secret Mission)

Whatevermind: LP
The “it” factor. Music folks have been looking for the formula for decades with limited results. The best bands (like The Brokedowns, Dan Padilla, Rumspringer) play styles that are all too familiar, but for some reason can push both hands into your chest and push your heart through your mouth. Add Rational Anthem to the list. Whatevermind takes the lyrical strength of Black Flag’s “Depression” and grinds it through haunting bubblegum punk tuneage so you’re drunk singing through the tears and smiling through today’s suck, ready for tomorrow because the Rational Anthem LP is still on the turntable. I’m late to the party, but oh well, never, whatevermind…  –Matt Seward (Rad Girlfriend, radgirlfriendrecords.com / John Wilkes Booth, johnwilkesboothrecords.com / Kiss Of Death, kissofdeathrecords.com / Bloated Kat, bloatedkat.storenvy.com)

Self-titled: 12” EP
Tough one to describe here. Which is a good thing, really. I hear strong death rock elements in the percussion and bass, and occasionally in the guitar. Then there’s this really wide and blown-out post-punk, post-rock, post-whatever, sort of art-damaged, vibe that dominates the sound that keeps everything from getting too dark and too heavy. Things really get interesting around songs like “Life Comes from Death” with its creepy graveyard organ sound, and the lumbering “Secret” where the bass has a loose and dark edge that takes the sound into the depths. Then there are the vocals in that song that have this distant dream feel. So good... Unfortunately, the songs “Ganex; Black Mob” and “Caverna” run too long and bog things down, killing the mood established by the previous songs. “Caverna” has its moments, and is more focused than “Ganex,” but neither song fit well with the previous four. Maybe it’s a matter of having to spend more time with these songs. Whatever the case, the material on the first side is definitely worth your time.  –Matt Average (Nada Nada, nadanadadiscos.com)

Self-titled: LP
Good, trashy punk, like most any other artistic endeavor, first and foremost needs a heaping dose of conviction—you can pretty much sell any crap with just a smidge and you’re only ensuringa long, faceless stay in the dung heap of mediocrity without it. Like Teengenerate, the Reds, and others working that side of the road, these cats are well aware of this rule and go out of their way to make sure this disc is sweating barrels full of both conviction and chutzpah. Taking cues from early Stones (even going so far as to quote “The Last Time” at one point) and all the usual suspects, they intersperse heaps of audio samples more often heard on a Crass compilation between tracks and flail in wild abandon when the actual songs kick in, with live-wire energy levels and howling aplenty. Guaranteed to clear out yer next clambake of all but the most hearty and coolest of yer crew.  –Jimmy Alvarado (Deadbeat)

Self-titled: LP
Alright! Second album time from this fantastic Calgary band, made up of ex-Neckers and Chixdiggit members. I could not be more pleased to report that although the band has been fleshed-out from two members to a full four-piece band, the results are absolutely stellar. This is—quite simply—top-shelf garage rock with power pop influences and phenomenal songwriting. The keyboards add to the sound, which is a rarity in my experience, and they are just perfect in the mix as well. Fans of bands like Muck And The Mires and Mondo Topless will find a whole lot to like with the Pygmies. Anyone who is into strong power pop and great backing vocals will wanna be all over this. Bands from Canada are just better. Here is another shining example.  –Mike Frame (Self-released)

Modern Anatomi: 7” EP
Another salvo of hits from a cabal of punkers responsible for Swedish hardcore darlings Raped Teenagers as well as more current bands like Flakes and TV Eye. As can be expected given their pedigree, what yer getting is first class ADD-core tunes—the longest here clocks in at an epic minute-and-change—delivered tight as nails with rhythmic hiccups abounding, but blink and it’s time to flip the disc over.  –Jimmy Alvarado (Signaler Fran Ovan)

Self-titled: 7”
So yeah, they named themselves Prince. Why? Bunch of stoners. I don’t usually like something this poppy, but, damn, I think this is good. Clean, melodic, and incredibly catchy, especially “Young Americans” on Side A. It’s probably their best song on this 7”. I can say, though, after playing a couple shows with these guys, they really do possess the “it” factor live: the energy, talent, and rawness is not captured in this recording. They are way the fuck better than this recording, so I’m looking forward to what’s next for them.  –Camylle Reynolds (No Breaks)

Kings of Punk (Bloated Edition): CD
When you look at an album cover and see a bovine-like beer belly carved up with X-acto gashes that crudely spell out a band’s name, you can rest assured that, by buying this particular recording, you’re getting a genuine strain of hardcore nihilistic punk that will tear your nostrils open, separate the meat from your skull, and pin the ragged flaps of your face back against your ears. The photograph of Jerry A’s X-acto work in scarification “branding” on the Kings of Punk cover is like the Good Housekeeping seal for punk nihilism; it tells you in no uncertain terms: this is the most “rotten, dirty, damnable, filthy, putrid, filth” your money can buy—satisfaction guaranteed. Now of course, whether or not the malcontents in Poison Idea were really proper “nihilists” is debatable. They were most likely not nihilists in the sense that I don’t think any of them ever spent nights curled up on the couch with some Lorna Doone cookies and a good Max Stirner book. I seriously doubt they read much of anything outside of maybe a beer-stained Bukowski book or two. But if one is to believe the snuff-spittled rantings of the famous Hillbilly Hot Head, self-styled nihilist and all-around professional “Bad Man,” Jim Goad, both Pig Champion and Jerry A were drunken, thieving, drugged-up, hypocritical Man Mountains of amorality. Specifically, Goad claims that a certain Tom Roberts (aka Pig Champion) ratted him out to the fuzz, resulting in Goad landing in jail for an extra zealous bit of performance art wherein he beat up his girlfriend. Particularly bad form, says Jimbo, for the seemingly earnest composers of several brutal anti-cop/anti-snitch ditties like “The Badge” from the Feel the Darkness album. He also makes more broad claims that, while P.I. bassist Myrtle Tickner was merely a “sweet drunk,” Pig and Jerry were both luridly conniving smack addicts who would turn on anyone for a quick fix. Of course, I have no way to gauge the veracity of Goad’s accusations, but it seems at least plausible that his strident protestations are little more than the attention-getting “I’m-Badder-Than-You” bellowings of a person looking for a little more notoriety to heap on his already “dangerous” reputation. Don’t forget, Jim Goad was a reality TV type personality before reality TV even existed. And, seriously, can anyone with a straight face call Jerry A and Pig Champion gutless? But even if Goad is right in portraying them as dangerously obese back-stabbing junkies, they at least weren’t sickly, simpering little heroin-chic nihilists hunched and on the nod in some dark corner somewhere, watching their own grey drool accumulate in their navels; these were rotund, heavy-breathing brutes whose every blackened fat cell was bursting at the seams with utter nihilistic rage like Momma June—a Goadian Hillbilly heroine herself—bursting at the seams from a particularly gluttonous session of pork rind binge eating. And that comes through each and every song on Kings of Punk like a runaway herd of rutting bull elephants trampling Jeep-fulls of ivory poachers underfoot. What more can be said about this album that hasn’t already been said? Eleven sternum-cracking, just-don’t-give-a-fuck, meat-nado classics from the Billy and Benny McCrary (look ‘em up, you have a smart phone) of hardcore punk and a memorable album cover guaranteed to pop into your mind every time you take a sharp knife and cut up a nice plump hotdog. Plus, with this re-mastered re-release from Southern Lord/TKO, you get an additional all-you-can-eat smorgasbord of previously unreleased live recordings, circa 1984-1986. So with this double disc version of Kings of Punk you can listen to the very dark sounds of raging drunk-junkie nihilism until the cows come home. There are even freshly-penned liner notes from Mr. Jerry A, detailing the back story to the stomach-slicing photo shoot and including a proud profession that he has not mellowed with age and is, in fact, more pissed off than ever. I’ve watched enough classic WWF to know a thinly veiled challenge when I hear one. By the time this issue of Razorcake hits the streets, cocky rapper DMX should’ve already pounded celebrity killer George Zimmerman into Alpo at the Celebrity Boxing event. I say that next up, as a way of promoting their on-going series of “extra gravy” classic Poison Idea re-releases, Southern Lord should try to orchestrate a Celebrity Nihilist Death Match between Jim Goad and Jerry A. And let’s put in a stipulation allowing X-acto knives. Whaddya say guys? Do it for Pig.  –Aphid Peewit (Southern Lord)

Self-titled: 12” EP
Loved their single, and that sentiment is amplified threefold along with the three tracks that accompany the two from the single on this EP. More bass-heavy post-punk for your ear hole, with all-but-unintelligible wailing vocals, loping bass, and danceable-yet-not-dancey rhythms. The tunes are hypnotic and catchy, moody without being out ‘n’ out goth, redolent without being rote. Back slaps all around; they’ve got another winner here.  –Jimmy Alvarado (Deranged)

Pure: 2 x LP
Pure is an important reissue. If you’re unfamiliar with Peter Gutteridge, he’s something of an overlooked figure in New Zealand music. He’s been in The Clean, The Chills, and The Great Unwashed—although his main creative outlet has been Snapper. Pure was originally released as a cassette on Bruce Russell’s Xpressway label back in ‘89. (Although defunct, if you’re unacquainted with Xpressway, I cannot recommend the label enough.) Pure finds Gutteridge handling the bulk of instrumentation, with occasional help from Snapper bandmates and George Henderson of The Puddle. Two of the songs on Pure were rerecorded for Snapper’s Buddy EP (1988), but most of the material here is unavailable elsewhere. Puresounds like a Snapper home recording: distorted keyboards and vocals with drum machines (I’m admittedly stretching it here, but think of a gritty version of Stereolab). Gutteridge did his own thing. New Zealand had a very vibrant scene built around jangly guitars and deep pop hooks in the ‘80s. Dubbed the “Dunedin Sound,” it was a very fertile time for NZ music. With Snapper and Pure, Gutteridge created music equally compelling, albeit completely different from most of the records on Flying Nun at the time. Thanks to 540 Records, this hard-to-find cassette is readily available on vinyl (a double LP to boot). The cost of putting this reissue together had to be immense, more of a reason to pick up Pure.  –Ryan Leach (540)

Mas Alla De La Muerte: 7”
This is the second 7” for this Bay Area band. I missed the first, and now I have to track that sucker down because this thing is fucking FAN-TAST-IC. The label mentions previous bands these folks have been in (Condenada, In Disgust, Sourpatch) but this band has their own sound and the “ex-members of” tag may even sell them short. The riffs are absolutely raw and raging with a dark, menacing vibe not unlike N/N with sick blast beats that call to mind Despise You. I love the way that the songs don’t break down when you expect and don’t move in the direction they seem to be heading. This is an engaging listen and even though the riffs seem simplistic, it’s certainly not “by the book” hardcore. The lyrics are to-the-point depictions of abuse and reactions. There is a feeling of being broken and lashing out for just causes in the way the lines seem to yell at the protagonist instead of the world, especially on the last track “Corporal Punishment.” There is supposedly a third 7” in the works on Not Normal. I hope these people continue to churn this stuff out and this isn’t just a short-lived side project band.  –Ian Wise (Warthog Speak)

Judgment Night Soundtrack: Cassette
Gotta confess I wasn’t expecting much from this cassette based on the packaging. The cover has an ugly-ass foot on it and, along with the title, my mind kind of decided that this was going to be a so-so, pseudo-industrial soundscape. Boy was I ever surprised when I plopped this baby into my vintage 1989 cassette deck. What greeted me was a ferocious mix of Flipper-styled cacophony, downtuned guitars, and some of the most intensely personal lyrics I can remember coming across. It goes without saying then that I freakin’ love this cassette. My only complaint though is that the low-fi nature of the recording really doesn’t do justice to the quieter interludes within the songs. Regardless, this is highly recommended.  –Garrett Barnwell (Human Crush)

Without Warning: LP
If you took the monomaniacal devotion to form of the Riverdales/Head/maybe Teenage Bottlerocket, dirtied it up somewhat, and added the overgrown adolescent fascination with murder that made the Zodiac Killers so… uh… special, then you’d probably have something reasonably akin to this, although starting things off with an instrumental suggests that the Rip Offs Got a Record played a role in shaping the minds of these leaders of tomorrow. This album includes songs about killing girls’ boyfriends, killing with their girlfriends, and killing with no overt boyfriend/girlfriend component, but, so far, all this record has impelled me to kill is the volume. BEST SONG: “They Call Me Death.” BEST SONG TITLE: “Bash His Brains.” FANTASTIC AMAZING TRIVIA FACT: Cover art by Rick Melton, for those who can’t get enough rumps and knives!  –Rev. Norb (P. Trash)

Rest in Pieces: LP
Uninspired, out of tune Ramonescore built on the overdone premise of singing from a violent criminal’s perspective. The market for this stuff is getting a little crowded. It certainly doesn’t inspire confidence that not a single song on this record seems to be made with any effort. I could have sworn I just reviewed an LP by these guys and I’m pretty sure if you took all of the best songs from those two LPs and put them on the same album, you’d have like three songs. I want to like this, I really do, but it’s not pleasant to listen to. Grade: D-.  –Bryan Static (P. Trash)

Self-titled: 7”
Dense, brief, and crazed while still holding on to an undercurrent of melody. It’s a strange combo, and it works really well here. They’re a great live band, but this 7” does a terrific job at capturing that intriguing “bomb in a roll of bubblewrap” combination. If you took the vocals and whip-smart angularity of Glass And Ashes and combined it with the Sainte Catherines, with all of that band’s effluvia sanded off and whittled down to the essentials, you’d be looking at something like Pageripper. It’s a weird cross-section of sounds that shouldn’t necessarily work, but does. Excellent production: it’s gritty, but layered enough to document the nuances. Thorough packaging. This is a relatively new label, I think, but it’s clear that everyone involved, band and otherwise, put a lot of effort into this release. Recommended.  –Keith Rosson (Sex Sheet)

Fool’s Punk Line: LP
Last year I was floored when A Page Of Punk put twelve songs on one side of a 7”. Well, they’re back with a full-length! A forty-nine song LP! You really gotta be in the right mood (slightly drunk?) for their brand of blasting, over-the-top punk bursts that start and finish with rapid nail-gun precision. Rarely breaking the minute mark, but not without their tempo changes, this isn’t blurrcore, this is punk. Concise and explosive. I love how playful it sounds while still having pisssssed off lyrics. I’ve also heard some wild tales of their live shows, which sound like as much of a spectacle as a forty-nine song LP. In the end, they’re doing such a good job with such a ridiculous premise, you can’t help but love it. Crack a beer or six, strap yourself in, and never forget the lyrics to the song “Keep Rockin’ Fuck Off!” which read as such: “Keep rockin’ / Keep rockin’ / Fuck off!!!”  –Daryl Gussin (Drunken Sailor)

Japan Tour: 7”
A Page Of Punk starts off with a couple songs of shout-along thrash, then slows it down for some anthemic punk on the final few (Yes, they contributed seven songs to this record). There are gang vocals everywhere, and the music is punchy and clear. It’s impossible not to smile at this, especially “No War No Cry.” From Japan, Werewolves On Motorcycles are from the English town Stoke-on-Trent, which I Googled, and got these recent headlines: “£1 houses: the starting price to bring hope back to Stoke-on-Trent’s streets” and “Is Stoke-on-Trent home to the nation’s worst view?” along with a piece on “badger culling.” Their sound is darker and angrier, with songs about cops and masturbation.  –Chris Terry (Drunken Sailor)

Three Times Dope EP: 7” EP
Obnox is a rather prolific project from Bim Thomas of Bassholes and This Moment In Black History. I have no idea where this falls on the Obnox trajectory, or whether it reflects the rest of the output under this moniker, but that aside, this one’s got three powerful garage punk rockers with a slight psychedelic bent plainly hidden beneath a lack of fidelity—like champion level lacking. The two originals are stellar, and Obnox offer up a fantastic, personalized cover of the Spiders’ “Don’t Blow Your Mind” that fits well next to Bim’s own work. Huge catalogs are always intimidating to me, but I might just have to investigate into this one a bit more, especially if more of this is possible.  –Vincent Battilana (Southpaw)

Sister: 7” EP
Things start off a-flailin and a-whoopin’, with some hyper-speed thrash setting the pace. Then, however, they immediately shift back into low gear for the remainder of the ride, meting out some heavy hardcore whomps stuffed with paranoia and virulence. Fuckin’ rad, though I’m gonna have a hard time explaining all the fist-sized holes in the wall.  –Jimmy Alvarado (Inimical)

Fuck My Womb I’m Calling in Dead: 7”
This is kind of a dream come true for me. One of my most common reviewing techniques is to invent an obscure cartoon and say that the band is named after it, using the theme of the cartoon as a metaphor for what the band is about. But I don’t need to do that with Nu,Pogodi, because the band is actually named after an obscure Russian cartoon about a fucked up, chain-smoking wolf who spends his days chasing after an absurdly wide-eyed rabbit. The band isn’t exactly cartoonish though. Through a pummeling barrage of harsh core, they delve into topics that are all too realistic, about being an outsider and looking for acceptance within. On the other side is Wisconsin’s Choose Your Poison, who deliver “Calling in Dead,” a sweet shout-along hardcore tune, and a couple other fast and wild stompers that are over in the blink of an eye.  –MP Johnson (Active Rebellion)

Self-titled: 7”
This EP is on constant rotation. Already had this in my collection before I was asked to review it, so lucky me! Gnarly, all XX, awesome, sloppy garage punk. Bass- and drum-heavy with surfy distorted guitar. Heaven. Has members from Ex-Cult, Manatees, and Moving Finger. Dig any of these bands? Then this is for you!  –Camylle Reynolds (Goner)

Sup: LP
This one caught me off guard like a sucker punch to the cranium. I was initially put off by the atrocious cover—a poorly Photoshopped collage featuring an eagle, twenty dollar bills, a pair of assault rifles, a roller coaster, and two greasy slices of pepperoni pizza—but the design may also be brilliant. Atrocious because the resolution blows, brilliant because all those things are the American Dream, right? Right. Besides, the cover lowers all expectations to asubterraneanlevel.But then the first song starts, and it’s immediately infectious. The vocals have the ideal amount of twang and snot, à la Violent Femmes. The sort of slacker angst inflections that make you believe you can sing every note. And you will want to—assuming you can digest tongue-in-cheek silliness. Luckily, North Trolls aren’t musical slackers either as they run the gamut from garage punk to grunge balladry to Cheap Trick pop rock. The varying styles avoid parody, and across the board the choruses are tight and the hooks fit snug. Definitely one of my favorite and most out of the blue pop records of 2013.  –Sean Arenas (No Breaks)

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