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Razorcake #84
Tim Version, Ordinary Life LP + bonus 7"
Radon, 28 LP
Zisk #25
Razorcake #83


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Record Reviews

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Below are some recently posted reviews.

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IRON LUNG:
White Glove Test: 2 x LP

It’s been well over twelve years since I first witnessed long-running powerviolence juggernauts Iron Lung opening up for Spazz’s last show at Gilman St. I can still remember how utterly amazed I was with the duo’s ferocity and tightness as well as being equally disappointed with the fact that they had no demos/records for sale. Luckily for me, they’ve been constantly releasing new records left and right since then, including a multitude of splits, two full lengths, and even some live cassette-only recordings pressed in insanely limited quantities. White Glove Test is the band’s third full length and their newest material since their Brutal Supremacy compilation tracks from 2011. Setting a new standard for innovativeness and maintaining the good name of the often tainted name of the powerviolence genre has been the Lung’s business ever since and this new album is continued evidence of just why Jon and Jensen are the undisputed kings. Twenty tracks of Crossed Out-styled stop/start beat-downs lovingly crafted and thematically centered around the unseen horrors of the medical/health industry, ultimately outlining why there’s absolutely nothing left for you to do but tag your own toe and shuffle on down to the morgue after you become gravely ill. Depending on how lucky you are, there are two versions of this album: the limited copies (this being one) come with a companion LP, which features some unsettling noise and sound collage arrangements designed to be played simultaneously with the first disc. An adventurous experiment if you’re so equipped with two turntables, but still worth owning for the first disc which should only be played at two volume settings: loud and seismograph inducing-ly loud!

–Juan Espinosa (Iron Lung / Prank)


ILLS, THE:
Get It: 7”
Sloppy, poppy, raunchy fun. Moments of minuscule connection and blasts of dangling emotions. These are not songs to consider; they say what they mean to say and leave quickly before anyone has a chance to object. The songwriting is barebones even if there is a keyboard, a usual sign of a song wankery. These simple tunes echo the likes of White Lung or God Equals Genocide. There might be a few times where you can guess where the song is going with complete accuracy, but the delivery does each predictable move with justice. Never underestimate a road that has already been mapped. Grade: B+. –Bryan Static (Shake, experienceshake.com / No Front Teeth, nofrontteeth.co.uk)


IGGY & THE STOOGES:
Ready to Die: CD
There are some subtle differences between this and The Weirdness, the last Stooges record since their reformation. Iggy is front and center on the cover and the back. Way in the back cover photo, and out of focus, are two figures who I can guess are Scott Asheton and James Williamson. Mike Watt? You have to open the insert to see any sign of him. Okay—first, Mike has played in the band for ten years now. Second, this is an ex-Minutemen we are talking about for chrissakes! Okay, I’m calmed down now. The music certainly has more texture than the rough-as-hell Ron Asheton era. Whether that is a good or bad thing is up to the fans. Williamson is still on his game, but I’m not hearing a riff as memorable as “Penetration” here. “Dirty Deal” finds Williamson mining old territory to good effect. Sax and backing vocals are more prominent, but the music still has bite. There’s even acoustic guitar on “Unfriendly World.” It all fits together, but it’s not the same band, I guess is what it comes down to. Worth checking out, but you are not going to play this more than Raw Power, that’s for damn sure. –Sean Koepenick (Fat Possum, fatpossum.com)


HUSSY, THE:
Pagan Hiss: LP
I think the 10” actually came out before the album, even though the album has a song called “Clothes Mountain Pt. 2.” Sonically, Clothes Mountain sounds like it could have come between The Hussy’s first two albums, Cement Tomb Mind Control and Weed Seizure, stomping fairly straight forward and blown-out. The artwork puts me in a time machine and takes me back to 1997. I don’t know why, exactly. Is it the color scheme? Maybe the Dobermans? “Beanbag” has weird tape shifts and changes that I find disarming, which I’m sure are the band’s intentions. Pagan Hiss continues with the sound layering experiments I first noticed on the Weed Seizure LP. The Hussy continues to mix proto-punk riffage, psych elements, and damn catchy pop-informed tunes. “Rezhand” and “Hate This Town” stand next to “Stab Me” (from Weed Seizure) and “Sexi Ladi” and “Wrong/Right” (from Cement Tomb) as certifiable road trip mix worthy singalong jams. Bobby Hussy is able to wrangle some scorching tones out of his guitar, which makes the band really stand out among its garage/punk/psych peers. I really think they should be on In The Red. Vocals are a little less drowned in reverb than their previous album (not a criticism, just an observation). As great as these records are, The Hussy really should be experienced live. –Sal Lucci (Southpaw, southpaw-records.com / Red Lounge, redloungerecords.net)


HUGH BEAUMONT EXPERIENCE:
Cone Johnson: 7” EP
A reissue of this venerable Ft. Worth band’s sole solo wax release (their track on the Cottage Cheese from the Lips of Death comp and other assorted comps and bootlegs notwithstanding), originally released in 1981, and again available in all its gritty glory. Those lookin’ for something akin to the musically learned, well produced pap that seemingly assembly lines its way out in droves these days will be immediately put off by the first note of the first song, “Zyklon B,” these kids (word is they were maxing out at the ripe ol’ age of sixteen when this was recorded) serve up here. You’ll find the shit’s raw, sloppy, and utterly brilliant if you hunker down and just let it sink its teeth into you and, yes, you will go back for seconds. And thirds. As is the way with these reissue-type thangs, this is limited to five hundred copies, so start scrambling. –Jimmy Alvarado (Cheap Rewards, cheaprewards.net)


HUFF STUFF MAGAZINE:
Sugar Mountain: LP
Pardon the genealogy and history lesson. It’s a good record, instantly likeable. Bouncy. Pop-informed without inflicting musical diabetes. Huff Stuff Magazine sound like if Tenement grew up in Oakland in the late ‘90s and shared a house, or at least a practice space, with Bent Outta Shape. Definitely not what Tommy Deadbeat’s been concentrating his efforts on lately (a lot of high quality, high-revving garage releases), but don’t forget that Tommy cut his teeth on his Viva La Vinyl! comps. The first one in 1994 featured Tilt, J Church, Sicko, Bouncing Souls. So, it’s not too surprising that Huff Stuff Magazine sounds like the upper tier of Lookout! before it turned its back on pop punk and bet the farm—and lost—on The Donnas ($40,000 music videos with a tiger) and boring nonsense like The Oranges Band. (Punk empires fall at the sound of unpaid royalties. It’s an old tune.) Engaging and sloppy-tight, Sugar Mountain, takes its name from where it was recorded, Hammy’s (Fleshies, Pigs) studio. Features Barker of Ringers (RIP) and Neon Piss (RIP). –Todd Taylor (Deadbeat, huffstuffmagazine@gmail.com)


HEMORRHAGE:
Chapter One: CDEP
At the end of the day, when the horses are corralled and the circus clowns have all gone home, Hemorrhage plays hardcore. Apparently not content with being just another hardcore band, they bandy about some interesting song structures and throw in some woozy guitars here ‘n’ there. Could also possibly be the first band I’ve come across to reference Game of Thrones, if “Winter Is Coming” is indeed a reference. Pretty danged good all ‘round. –Jimmy Alvarado (Abduct Tape, abducttaperecords@gmail.com)


HATRED SURGE:
Human Overdose: LP
The first time I heard Hatred Surge I felt like my mind got blown out of the back of my skull. All that stuff I’d heard coming out of Texas in the early 2000s was right there in their sound, but it was some sort of mutated version of it. Imagine the scene in Teenage Mutant Ninja Turtles II where Shredder pumps those poor animals full of ooze and they come out these fucking insane, lumbering beasts. Well, Reason Of Insanity and Race Against Time were the sweet little animals and Hatred Surge were their mutated counter parts, at once evolved and degenerated. But what struck me about Hatred Surge is that they kept fucking pummeling me with every release. The split with fellow Texans Insect Warfare was just the beginning of their Gulf Coast assault, and a couple years later I heard this insane collaboration record with Iron Lung. What a monstrosity! And here we have their latest outing. I’ve missed their last two EPs, but if I had been paying attention I may have seen this coming. Is this some bid for commercial success? Are these riffs dumbed down for a reason or did they just phone this in? This record sounds fantastic, the production is massive and so clean and crisp, but the riffs are more metallic, more simplistic. They remind me a little of Mammoth Grinder, but Mammoth Grinder own this style. Why ape it? The B side is has a different feel, and seems to make more sense as a Hatred Surge record. Is this a band at odds with itself? I just looked the band up and found out they now share a member with Mammoth Grinder. I hope that, eventually, they can integrate their styles in a way that sounds fluid, but for now this feels rushed and undeveloped. –Ian Wise (Iron Lung)


HAMMER AND THE NAILS:
“Rome Is Burning” b/w “A Product of the Modern Age”: 7”
When I was a kid, skinheads had the best taste in music. I mean, the best. They owned soul music, obscure British mod rock, ska music that sounded like it was recorded inside a tin can, and the late-’90s crop of U.S. oi like The Trouble, Patriot, and the Templars. But as the years wore on, the older guys moved on and a lot of the people who replaced them were, sadly to say, less than zealous. For a subculture that was supposed to be a cut above the rest, we sure did churn out a lot of really lame clunkers. The past couple of years has seen a little bit of a resurgence of oi and, while there are still plenty of lame “drink beer, have sex, fall down” coming out to satiate the masses, I’ve noticed a few really great releases in the past couple of years that I don’t feel embarrassed to share with my friends with more hair than me. Hammer And The Nails put out one of those records in the form of a 12” EP a couple of years ago, and I have (along with a lot of others) been waiting on the follow-up since. This sucker is only two songs, but drives the point home harder than if they’d pulled for more tracks in the grooves. The A side is a dense, lyrically-driven track that is at least as good as any of the more thought-out “high art” punk, without the pretense, while the B side is driven more by the beat than the lyrics. The best thing about this band is that for all the nods they give to bands like Section 5, Sledgehammer, Breakdown, and a lot of others that you’ve probably never heard of, they have a sound that is cohesive and unique. You can pick up odes to old styles in their sound, but they don’t pander. If you pick up one band from this oi revival, let it be this one. –Ian Wise (Rock n Roll Disgrace)


GOSPEL TRUTH:
A Lonely Man Does Foolish Things: LP
It’d be easy as pie to shorthand this as noise rock. Given the echoes of Butthole Surfers and other groups not exactly known for being averse to skronking things up a bit, I’d say it’d be the natural go-to for most looking for a two-words-or-less descriptive. Things become a bit more problematic; however, the more one listens. While they are definitely adept at ratcheting up the racket, they are also just as versed in the dynamics of when to ramp things up, and have the sense to bury in their sound shades of the Gun Club’s swampy blues, swinging rhythms, and even a cello. The resulting songs retain a singularity and sophistication that is too often lost in the underground’s “play to a pigeonhole/template” overarching mentality. Don’t let the cheesy quasi-metal cover dissuade ye, this is definitely worth a spin. –Jimmy Alvarado (12XU)


GATEWAY DISTRICT:
Old Wild Hearts: LP
While fans of The Soviettes and Rivethead will get exactly what they are wanting musically from Gateway District, two things bring Old Wild Hearts to the top of the heap. The packaging on this LP is so simple, it’s stunning. The simple diagram graphics are hypnotic, keeping the cover glued to my hands while the wax is spinning. The only things that break that spell are the lyrics. A typical listening experience is following along with printed lyrics sheet as the songs unfold and blare through the speakers. I started this LP that way, then found I couldn’t marry the words to the tunes. I kept reading straight through. They are poetry or short chapters of a book I can’t put down. I actually read the lyrics sheet without the music playing after spinning the record. Just fantastic. –Matt Seward (It’s Alive, itsaliverecords.com)


GAS RAG:
Human Rights: 7” EP
Chicago hardcore that’s raw as all get out, almost to the point of sounding like some obscure Scandinavian hardcore gem, zippy without being silly about it, and pretty much unintelligible. They keep things short, endearingly sloppy and full-tilt, as well they should. –Jimmy Alvarado (Beach Impediment)


GARBAGE DAY / MAKESHIFT:
Split: Cassette
This is a cool lo-fi garage rock split from a Buffalo-based label. Each band is a three piece, with two overlapping members. Garbage Day may or may not take its name from Silent Night, Deadly Night Part 2, but I’m going to pretend it does to make this tape seem even hipper. Solid packaging, a pro made cassette, and a free online version seal the deal. –Art Ettinger (Ut)


FROZEN TEENS:
Self-titled: LP
Frozen Teens aren’t one thing. Fancy people piss themselves over the complexities of wine. (Tastes like: “Raspberries, oak, chocolate, and NPR’s high rotation music.” No thanks. I’ll take the spacebag that tastes like: bad decisions, headaches, forgetting, bruises, and armpits.) Fancy people can fuck themselves. But I like it when punk bands are pulling from several parts of the musical spectrum and they stitch the bubbles together. I think this band’s pretty young, but they’re wizened. Musically, the holes in their shirts weren’t there when they bought them. Sure, I’ve heard little bits of Frozen Teens before in the Replacements, Drunken Boat, and Bent Outta Shape, but it’s more of a spirit, a general sense of journey than, “Whoah, that sounds a lot like ‘Alex Chilton’ or ‘Rudes and Cheaps.’” It’s not like that. There’s a bittersweet, smoke-like quality that surrounds Frozen Teens. You put your music pants on in the morning, and sure as shit, you can smell the Frozen Teens songs all around you, as real as you’d been sitting next to a campfire. It’s this fluidity, this happy sadness that I take away from Frozen Teens and I both like and appreciate it. It’s one of those things I don’t want over-explained, over-precious-ized. It’s just really, really good music, you know? –Todd Taylor (Mauled By Tigers / Do Ya Hear We)


FAITHLESS SAINTS:
State Dependent Learning: CD
While they show a lyrical astuteness and fearlessness to question the world around them that puts them in stark contrast with the lion’s share of their contemporaries, the mélange of modern pop punk, modern ska, and assorted uninteresting stops in between sounds like waaaaay too many others and renders this virtually unlistenable. Noble attempt to mix things up a bit, but you gotta start out with Kool-Aid that ain’t already watered down if you want it to taste like Purplesaurus Rex and not stale water. –Jimmy Alvarado (Irican, iricanproductions.com)


FACE TO FACE:
Three Chords and a Half Truth: CD
So the card trick after the first reunion record (or hiatus or whatever you want to call the five-year break), is to keep the momentum rolling. Some bands can do this—like Mission Of Burma, for example. Other bands just are not up to the challenge. I’m happy to report that this is not the case with this record. We get a lot of varied sounds and different styles here, along with the Face To Face anthems of the future. It’s obvious a lot of effort was put out on this one. “Skyscrapers and Smokestacks” “and “Jinx Proof” were some of the standouts. But it’s clear that this band can still make a solid album from end to end. Now it is all up to you. –Sean Koepenick (Rise, riserecords.com)


EX NUNS:
Dead of Zero: 7”

Kinda hard to get a bean on this one. Inside an almost AmRep clanging ‘n’ banging is an industrial vibe as interpreted by early Sonic Youth, with droning single string leads dueling against each other while someone moans a melody and sings unintelligible lyrics. The flip, “Crash Meditation,” is more of the same, with a bit more lyrical clarity while not letting the boot off yer neck. Definitely a band to keep an eye on.

–Jimmy Alvarado (25 Diamonds, info@25diamonds.com)


ELWAY:
Leavetaking: CD
Ten years ago, I could see this band being really popular. It’s melodic, heart-felt (emo?) punk rock. Additionally, there’s the one obligatory acoustic tune and a quote inside the album by Sylvia Plath. Nowadays? I can still see it being big, but I can also see more people being jaded by this catchy, Alkaline Trio-sounding pop punk. Then again, there are still lots of teenagers nowadays, so who can say? –Kurt Morris (Red Scare)


ELEPHANTS:
Self-titled: CD
Fiery mix of Dinosaur Jr. meets My Bloody Valentine-style guitars with a sprinkle of vintage Letters To Cleo on top. Some of the lead guitar noodling gets a little repetitive and the vocalist kind of relies upon the same phrasings, but, fortunately, the energetic delivery and good songs more than make up for any of those relatively minor quibbles. I expect to see good things in the future from these folks, for sure. –Garrett Barnwell (Self-released, elephants.the.band@gmail.com)


DRUGLORDS OF THE AVENUES:
New Drugs: CD
The second recorded installment by this long-running side project of Swingin’ Utters frontman Johnny Peebucks. While I have never particularly been a fan of the Utters, I have to say that this outfit suits me just fine. Fifteen tracks of scrappy, beer-swillin’ goodness. Well, fourteen as there is one half-hearted reggae-tinged song that probably should have been scrapped. All this plus a pretty awesome holiday track! Holiday songs can be a mixed bag, but the Druglords manage to deliver one of the better examples of the form. –Garrett Barnwell (Red Scare, redscare.net)


DRAGON TURTLE AND ERIC DE JESUS:
“The Second Summer of Love” b/w “The Leaves on the Trees Were Green with Youth": 7”
This 7” is one of the more interesting releases I’ve come across in the last year. Dragon Turtle is a collaboration between musicians Brian Lightbody and Tom Asselin, playing synth-y, ambient shoegaze. Dragon Turtle provided backing music for some of spoken word artist Eric de Jesus’s live readings, and this record presents studio recorded versions of two of those live collaborations. The music Dragon Turtle creates serves as a great backdrop for de Jesus’s spoken word musings, particularly on “The Leaves on the Trees Were Green with Youth,” which has great lines such as “The air was dusty, it felt like humidity and unemployment.” My only complaint with this is that I wish de Jesus’ voice was a bit more prominent in the mix, and not quite as muddy and hidden in the middle of the music. That said, if you’re looking for something with a different vibe from the usual, do yourself a favor and check this out. –Paul J. Comeau (La Société Expéditionnaire, la-soc.com)


DOPAMINES, THE:
Vices: CD
I’ve seen their name a billion times in the It’s Alive ads, but somehow have never actually knowingly heard these cats until now. It’s a shame, really, as these guys are top notch. What sticks out to me is the multidimensional nature of the band. Casual listening reveals a band very comfortable within the parameters they give themselves to work with—a poppy blend of Midwestern-styled, mid-tempo punk rock, but the subject matter takes a strong turn toward the deeply personal entries of a long-lost diary. Depression, alcohol, and broken love are all hauntingly touched upon in some of the happiest-sounding sad songs I have come across in recent memory. –Garrett Barnwell (It’s Alive, itsaliverecords.com)


DÖDSVARG:
Om Det Där Med Omänskliga Relationer: CDEP
Not really what I was expecting. The name and black-on-black layout had me convinced I was getting a straight-up Skitsystem/Martyrdöd “stadium crust” clone. Those comparisons might actually be apt as far as vocals and guitar tones go, but the big picture is more a crusty-industrial-sludge-metal that’s both quite unique and rather good. Definitely maintains the bleak atmosphere of the aforementioned Scandi-crust, but injected with a metallic, mechanic, cold, plodding vibe. Very cool. –Dave Williams (Suicide)


DISSEKERAD:
Self-titled: LP
Prime-grade Swedish hardcore. These kids shake things up by mixing the usual Discharge influence with maybe a bit of crust to give it some apocalyptic heft. Add some laryngitic vocals and you has yerself fun for the whole family guaranteed to get lotsa spins at yer next bridge party. –Jimmy Alvarado (Skrammel, skrammelrecords.se)


DISABILITY:
Rockandrolltigers: Cassette
Sludgy slowcore with annoying, shouting vocals, reminding me of a sexually repressed Henry Rollins. The first song has these weird time changes into noodley Joan Of Arc-type riffs before the sludgy riffs drop in again. That’s the most interesting it gets. From there it’s just dragging riffs with little feedback or distortion to fill out the sound. Too much testosterone, too few ideas. –Craven Rock (Common Thread)


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