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Records Reviews From Issue #46
One of Four
By Staff
Thursday, October 09 @ 00:00:00 CDT
13TH VICTIM, THE: Broken Bottles & Razor Blades: CD
Lyrics dumb for even high school kids, with music that’s been done thousands of times before. The only good thing here is the Riverboat Gamblers shirt one dude’s wearing. Then again, that probably sucks for the Gamblers.–Megan (Hairball8: www.hairball8.com)
999: Gimme the World: 7”
They may look like a bunch of lager-loving football supporters, but Nick, Guy, Pablo and Arturo continue to soldier on.{awkward transition} Sure, they had to withdraw from a few shows in May due to illness, but have several European dates scheduled. “Gimme the World” is a great song that sounds like something off the Weirdos Condo album. B-side track “The System” doesn’t miss a beat and does some cool stop-start stuff with tricky vocals. Nice to see a band producing challenging material instead of pandering to an audience that probably doesn’t exist any more. Could do without the lame romanticism of the last song, “Stealing Beauty.” She’s the prettiest girl in the world? Really? –Jim Ruland (Dr. Strange)
A.H. KRAKEN: LP
Weird and sharp, this is great. Like the more doom parts of Black Flag, in the horror vein of current bands like TV Ghost—real moody but still plucky and noisy shit. Songs are all around two and a half minutes, but you feel like you’ve been pummeled for an hour. Not hyperspeed, just—pounding. Putting math to the garage is always fun. Recommended. –Speedway Randy (In The Red)
A.H. KRAKEN: Self-titled: LP
I know fuckall about these kids, but they make a mean racket that somehow sounds like a cross between early Jesus And Mary Chain and the Birthday Party funneled through giant aluminum tubes. Yes, that was a compliment. –Jimmy Alvarado (In the Red)
ACTION STRASSE: American Gas Jive: CD
The band apparently boasts some heavyweights—former Zero Boys, Lemonheads, Ice Nine, Burn It Down, and United States Three members—and the one-sheet alludes to some “brutal hardcore group” called the Majhas, but what you get here is pop with some tinges of ‘70s rock thrown in. The end result is neither bad nor good, but I’m fairly certain I ain’t gonna remember a note in about, oh, twenty minutes. –Jimmy Alvarado (www.musicalfamilytree.com)
ADRENALIN O.D.: The Wacky Hi-Jinks of…: 2 x CD
Breakneck speed: check. Jabbing guitar: check. Rough but catchy singing: check. Lyrics about dead-end jobs, hating Trans Ams, smashing things in suburbia: check. ‘80s style hardcore literally from the ‘80s: checkity check. I remember hearing A.O.D. and liking them alongside D.R.I., early Bad Religion, and Government Issue, but not listening to them as much for some reason. Maybe they weren’t doing anything different, but they do it good. This double CD for their twenty-fifth anniversary holds up: mad teenager lyrics and plenty of cool hooks. They are being sold as “wacky” and goofsters, I suppose for their fuck your parents lyrics, dicking around live, and the Brady Bunch cover, but this is solid stuff. Disc two is the best part, containing their full Let’s Barbeque EP, comp tracks, and a live WFMU show in 1982. Suburbia has not gotten any better. Maybe another generation can be saved by hardcore. –Speedway Randy (Chunksaah, chunksaah.com)
AMEBIX: No Sanctuary: The Spiderleg Recordings: CD
U.K. anarchopunks who have been around a long, long time. This record is a remastering of the band’s first three EPs from the early ‘80s that have been moldering in some basement for the last quarter century. I’m not an aficionado of this genre, but I do like such stylings, and, for the most part, I liked this record. It appeals to the sense of malevolent self-righteousness deep inside o’ me and makes me want to break shit. But, there was nothing truly earth-shattering on this record for me. Not that it sounds like another pasty, one-legged entrant in the anarchopunk footrace, it’s just that the record never made me sit up and take notice. It was great background music while I was reading a novel about World War I. But what the hell is with all that warbling on track six? It sounds kind of like the painy strains of a moose being dragged by the nuts from a snowmobile. Very odd, that one. All in all, this held my attention reasonably well, but there were a few misses for me on it. That’s only a personal reaction, though; if you like Amebix, I’m sure this will be a welcome package. –The Lord Kveldulfr (Alternative Tentacles)
ANALS, THE: Commando of Love: 7”
The title track is an arty cross between, say, Monitor and The Normal. The flip is another bit of arty minimalism. Twenty-seven years ago they would’ve been regulars on New Wave Theatre, which means this is good in a “Gee, I don’t hear stuff like this enough anymore” kinda way. –Jimmy Alvarado (Sweet Rot)
ANCESTORS : Neptune with Fire: CD
Meshing doom and psychedelia that borders on being spacerock at times. You seriously can’t go wrong with that combination. Or maybe you could. Nonetheless, Ancestors execute the whole shebang with undeniable style. Seriously epic in composition. For a while you’re on a heavy riff, and then it washes out into psychedelic guitar meanderings that conjured up images and memories of surf films from the ‘70s, mentally replayed in slow motion. Two songs that clock in well over ten minutes each. However, this is all conceptual, so each song takes on various moods to move you along the path. So damn good. –M.Avrg (Tee Pee)
ANCHOR ARMS: Milligrams: 7”
Upon first listen, it’s absolutely no surprise that these lads call Gainesville home: gravelly voice, busy basslines, gang choruses, certainly no strangers to Fuel for the Hate Game. There’s something that separates Anchor Arms from the throngs of HWM copycats, though. These songs come off as totally natural, entirely sincere, as if maybe these cats were just so deeply immersed in hometown lore that they just live and breathe this sound. Passionate, memorable and genuine—I can’t ask for much more than that. –Dave Williams (www.myspace.com/theanchorarms)
ANDREW JACKSON JIHAD: Only God Can Judge Me: CD
If my CD player had a replay button, I would have pushed it. Instead I got off the couch on which I reside to press play over and over again. The album artwork is really great and features sketches of very cute little animals. It made me wish the cats with whom I share said couch were smart enough to appreciate that someone had written a song about them and their little mouse enemies. Maybe they would end the war, but then again we have Crass and look at us. Imagine early Against Me! (Crime-era) meeting Bright Eyes just to jam acoustic at the park over a couple of beers. The music is very sparse with usually just a stand-up bass and acoustic guitar, but this guy’s voice is so raw and real; it grips your attention and doesn’t let go. –Rene Navarro (Plan-It-X)
ANNIHILATION TIME: Tales of the Ancient Times: CD
Take a little later era Black Flag, Poison Idea circa Feel the Darkness, a tiny bit of Zeke, mix it up, and you have Tales of the Ancient Times. I like it. This hits me as the aural equivalent to the weird brothers in my hometown who were all grade school drop-outs who worked together in their parents’ motorcycle repair/leather jacket shop. If they knew how to play instruments, this is the punk album they would put out (after a false start as a Steve Miller cover band). “Bald Headed Woman” really gets into some serious motorcycle rock territory like early Turbonegro. My personal favorite is “Coming to My Senses” whose descending riff makes it sound like the best track Black Flag left off of My War. This is a worthy skuzzy punk album, with just enough old school metal influence for those who like to sport denim vests. Put it on while riding dirt bikes through the neighbor’s yards. –Adrian (Tee Pee)
ANTiSEEN: The Best of ANTiSEEN: 2 x CD
The year 2008 marks the twenty-fifth anniversary of ANTiSEEN, the band that remains one of the most misunderstood in the history of punk. Formed in Charlotte, NC during the peak of the early ’80s scene, ANTiSEEN went from being known as one of a handful of hardcore bands with an African-American member to being questioned by knee-jerk PC police for their camp usage of Confederate iconography. Many punk bands from that era reunited over the years, but ANTiSEEN is one of a few groups that continuously toured and recorded over that time span. This forty-song collection is a must for fans and a perfect introduction to ANTiSEEN for the uninitiated, showcasing their one-of-a-kind mix of comedic lyrics, Ramones adulation, heavy distortion, hardcore, and a pinch of country. Find a junior high school student in the family and give them this sucker as a gift. I fully expect to still be seeing ANTiSEEN playing shows in another twenty-five years: canes, walkers, and all. –Art Ettinger (TKO)
ANXIETIES, THE: The Next Mutation: CD
The bulk of the stuff mines the same early West Coast punk sound that The Briefs and many others have put to good use, with varying degrees of effectiveness. While most of the tunes easily fall smack into the middle of the nondescript pack, when they are good, like they are on “Lab Rats” and “Gotta Getaway,” they show a glimmer of the makings of a really good band. Cautiously optimistic about ’em, I am (and apparently prone to occasionally talking like Yoda). –Jimmy Alvarado (Lab Rat Industries)
ARM THE POOR: Blurring the Lines and Slurring the Rhymes: CDEP
Arm The Poor are from Tampa and play melodic punk that combines the urgent spit vocals and bass flourishes of Rancid with the surging, emotive elements of bands in the No Idea/post-Leatherface/Fest-swarming/Beard/PBR-powered-engine Florida scene. If you tend to like the beer chuggin’ pop punk that is often lauded in the pages of Thee Razorcaque Almanacke, then show Arm The Poor some love already! The cover photo even features a coffee cup and a Guinness bottle! –CT Terry (Hold Tight!)
AUDACITY / THEE MAKEOUT PARTY: Split: 7”
Audacity: Nice bit of punky pop with a singer not afraid to put some oomph into his delivery. Thee Makeout Party: Jangly ‘60s pop by way of mid-‘80s Redd Kross, as if Jeff ’n’ Steve suddenly sold all their Kiss albums and instead went on a Byrds bender. Sounds lame, I know, but these kids are actually quite good at what they’re doin’. Tip o’ the hat to both bands. –Jimmy Alvarado (Burger)
AUSTIN LUCAS: The Common Cold: CD
Heart and lungs folk. Austin Lucas gives us nothing short of amazing guitar and vocals. I have had the luxury of seeing Mr. Lucas perform twice; neither time was I familiar with his work. I remember his presence, controlling the silence, stopping even the rattle of the beer bottles in the dark bars he was performing. This release precedes his more notable split release with Chuck Regan of Hot Water Music fame, but it should not be overlooked. PS: Friends, I am three years late on this review. So good luck finding this yellow brick road of an album, but if given the chance to catch him live, I strongly recommend it. –Gabe Rock (Tiny Turtle, bikeamusprime@hotmail.com)
AVERSE REACTION / TARGET SOCIETY: Split: CDR
Holy fuck! This is bad! The sort of shit you “would rather stand out in front of the club in the pouring rain than listen to one more note from that band” type of bad. Fifteen songs recorded live, and poorly at that. I think this is pretty much the same band with members doing different duties on either or… One band is limp rock, the other is even limper grind. Or something like that. Blehhhhhh. –M.Avrg (Frank Ross)
BAD SPORTS: All the Time: 7” EP
These guys have obviously done their homework, alternating between lo-fi, trashy ‘60s pop and a punkier mix of Rip Offs-type stuff and ‘70s L.A. bands like The Dils to give things a bit of thud. Songs are to-the-point and catchy enough to warrant at least a listen or two. –Jimmy Alvarado (Boomchick, no address)
BAD SPORTS: No Rest for the Wicked: 7” EP
More primal thud-punk in the Rip-Off Records vein. “Ooh Ooh Ooh” is the definite highlight here. –Jimmy Alvarado (Big Action)
BADLANDS: When Angels Are Crucified: CD
Upon checking this disc out, I was gearing up for some dark and scary metal type stuff. With the calligraphy style of text and artwork depicting devils crucifying an angel, you can hardly blame me. Well you could just color me shocked to hear the opening track serve up some hard-driving melodic goodness that, when coupled with that gruff vocal, can’t help but conjure up images of Leatherface. This is both good and bad. Good in the fact that there aren’t nearly enough bands like Leatherface out there, bad because it is almost impossible to measure up. Badlands has their hearts in the right place, but I find myself getting bored a few songs in. –Ty Stranglehold (Rebellion, www.rebellionrecords.nl)
BANANAS, THE:New Animals: CD
Hooray! At this point, the Bananas could’ve easily coasted on past exploits. I mean, if you’ve already made the musical equivalents of The Statue of Liberty (A Slippery Subject) and the Grand Canyon (Nautical Rock’n’roll)—(these monuments are totally arbitrary; solely used for illustrative purposes due to their hefty landmark fame)—no one’s gonna give you shit if the new record doesn’t make a Mount Rushmore (without fucking over the Oglala Sioux). I mean, these three Sacramentoians basically made, and then perfected, a version of punk that’s equal parts confectioner’s sugar and cordite. It’s as sweet as a Jolly Rancher, but as dangerous as a grenade with the pin already pulled in the hands of an infant. It’s celebratory, raucous DIY pop that has the wonderful tendency to explode into unexpected chunks. I’ve put my level of trust in The Bananas on the same shelf as two long-standing underground bands that, last year, they went and upped the ante on themselves. The Arrivals’ Marvels of Industry and The Tim Version’s The Decline of the Southern Gentlemen are two hard-playing band’s best records. Mind you, I already celebrated The Bananas entire catalog, but New Animals is the best album by one of my already-favorite bands. The lead-off song is quite possibly the catchiest song about gentrification ever written. Wahoo! –Todd (Recess)
BEAR PROOF SUIT: B.Y.O.B.O.C.: LP
Milwaukee’s Bear Proof Suit would have fit in nicely on Beer City Records back in the day, not that BeerCity isn’t still alive and kicking. The point is that Bear Proof Suit plays that terrific crusty streetpunk that smelled up so many Midwestern basements in the 1990s. These twelve blistering tracks aren’t tainted by any self-important pretensions and are so straightforward that there must be a catch. The catch is that straightforward, crusty streetpunk has never been as dumb as its detractors claimed. This album is a treat for us non-snobs and comes with a neat comic book, replete with lyrics. It’d be a good community-building project to distribute copies of the comic book and discuss them at a Sunday book group. –Art Ettinger (Repulsion)
BENARD / WORN IN RED: Split 7”
Beee-yootifully carved, spastic shit that harkens back to the days of 1993 or so, and I don’t mean that as a burn. Both bands are running the screamo angle with such perfection, this could’ve come out on Gravity fifteen years ago and no one would’ve been the wiser—except there’s a full-color cover here and no poorly typed insert with, I don’t know, drawings of stars all over it. Benard reminds me of Staircase, which is probably a fairly obscure reference in these parts, but that’s what I’m hearing. Worn In Red’s song has no less than five screamo-epic sections in it and the vocalist could be a dead ringer for Mike Carter from Glass And Ashes, except this guy’s slightly more decipherable. No information available whatsoever besides song titles, which is too bad, as it’d be nice to hear what these dudes are yelping about. Apparently, the label’s folded since putting this record out; if you’re into the genre and you come across this one in a bin somewhere, grab it up—both bands know exactly what they’re doing. –Keith Rosson (Alaska)
BILL BONDSMEN: Swallowed by the World: CD
Boy, these kids keep gettin’ better with each successive release. They’re still kicking down some pummeling Midwestern hardcore, but the songs have gotten a bit more nuanced, often alternating between simmering rage and full-bore roar, often within the same song. Quite the impressive release, this, and a definite selection to crank up to “stun” when you’re sitting in line to use the last sixty dollars of your unemployment check to get a quarter tank of gas. –Jimmy Alvarado (Deadbeat)
BLACK AND WHITES, THE: Self-titled: CD
Pelle Almqvist was fired and Joey Ramone was hired to front The Hives. A fun album indeed. Good job, lads. –Mr. Z (Douchemaster)
BLACKBIRDS / BRAINDEAD: Split 7”
Blackbirds toss out two originals and a cover of “I Wanna Be Your Dog,” which comes off more ironic than anything else. They fare much better on their own songs—dark and brooding hardcore stuff with some pretty goddamn serious drumming going on throughout. Band sounds like they’d be right at home on a Deathwish sampler, sandwiched between, say, Trap Them and Reign Supreme. Braindead follows up with two songs of their own—the excellent “4th and 26th” that shows they can slow shit down to a crawl and still sound mean as hell; the song’s terrific and closes out with some of that Aussitot Mort/Amanda Woordward-styled octave note shit that just I can’t get enough of. Then there’s “Knives In my Eyes”—a quick straight-up hardcore song that’s over before it wears out its welcome, followed with yet another Iggy cover, this time “Search and Destroy.” Again, it’s decent but doesn’t really add anything new to the song—would’ve preferred if both bands had ditched the Iggy idea and given us another original instead, as they’re both onto something. Complaints aside, some damn fine jabs being thrown. –Keith Rosson (Burn Bridges)
BLACKLIST UNION: Breakin’ Bread with the Devil: CD
This quartet looks like a bastard child of Motley Crüe and Poison. Predictably, they’re from Hollywood, and from the sound of this album, they listened to L.A. Guns, Guns ‘n’ Roses, and various ‘80s hair metal acts. The guitar solos are in abundance but are fuzzier than one would expect. Some notes the vocalist hits are reminiscent of Ozzy Osbourne, but it still seems like this is a regurgitation of a bygone era. If you like KROQ, especially ‘90s alternative rock played on KROQ, this might be for you. –Kristen K (Self-released, myspace.com/blacklistunion)
BLACKOUT: Stop the Clock: CD
They cop to a Poison Idea/Motörhead influence, and both are readily apparent from the get-go, but there is a copious amount of the blues stirred in as well. Strangely enough, though, I found the odd bits of gloomy metal they mine on three or so songs to be the most interesting here. –Jimmy Alvarado (Profane Existence)
BLACKSTRAP: Steal My Horses and Run: CD
Twelve songs of what can best be described as amped-up shoegaze. I know that seems like a stretch, but this band literally sounds like Jesus And Mary Chain or many Creation Records bands playing in double time. Overall, this is pretty strong fuzz pop with male and female-pretty trade-off vocals on a stoner rock record label. There is a lot to like here for anyone who likes their pop with some fuzz and not as blown-out or noisy as Swervedriver or My Bloody Valentine. –Mike Frame (Tee Pee)
BLONDES, THE: Summer Van: CD Single
A song about having a van for the summer. Simple enough. “Shazzam, I got a van.” Very poppy early seventies rock with double guitars and some synth for good measure. A one song single isn’t much to go on, but I’m a sucker for lyrics that deal with rock’n’roll, makin’ love, smoking pot, and getting caught. –Rene Navarro (www.teenaciderecords.com)
BLOOD STAINED REALITY: Nazi Scum Burn in Hell: 7” EP
While these kids hail from San Diego, they sound like they just crawled out from the Wayback Machine after leaving Ohio or thereabouts circa 1981. Quick-tempo hardcore, plenty pissed off about what they’re pissed off about and proficient enough with their instruments to make a good impression. Looking forward to hearing more from ’em. –Jimmy Alvarado (www.myspace.com/bloodstainedreality)
BLOWBACK: Living Vibration: CD
Fifth installment from this Burning Spirits-style band. Sonic as hell. They attack full force in a near blinding fury. Tracks like “Left Hand,” “Color Water,” and “Crash” break up the wild pace without losing any momentum; shifting to mid tempo—in comparison to most of the songs—letting the rhythm come to the fore, and burning into your memory. Eleven tracks of all killer songs. Not one drop wasted. Essential, really. –M.Avrg
BLOWTOPS: Brainshaker: 7”
Mysterious, gloomy punk rock with keyboards and a deep sound; the garage noise that a decade of horror films, drawn curtains, and depression would make in a basement in Buffalo. “Brainshaker” is more punk rock electric shock, whispering lines like “Shake you outta your skin.” While “Crime & Remorse” is a slowly burning fuse. –Speedway Randy (FDH)
BOTTLE UP & GO: These Bones: CD
Normally I look forward to two-man bands like most look forward to drinking radiator fluid strained through soiled underwear. This is different, however. For one, the guitar player has a slide and he knows how to use it. He also knows how to compensate for the absence of a bass player by filling in the empty spots. Add on one wailing drummer and an unabashed love of drug-tinged blues and you’ve got yourself something worth a listen. –Jimmy Alvarado (www.killnormal.com)
BOYS CLUB: Girls of Today: 7”
The title track is decent power pop. The B-side felt like the song that comes on when you’re dancin’ with the chick (or dude) you wanna make it with, but then this song comes on that you really don’t want to be dancing along to, but you need to keep dancin’ if there’s any chance of getting any action from said dude (or chick), and you end up doing this miserable side-to-side hop that pretty much guarantees you’re going home alone again. –Megan (Douche Master, www.douchemasterrecords.com)
BRAIN DEAD / ROT IN HELL: Millennial Psychosis: Split 7” EP
Brain Dead: Grindy, crusty hardcore concerned with pro-lifers and the end of the world. Rot In Hell: More gloom’n’doom, this time with a metallic hardcore soundtrack. –Jimmy Alvarado (Vinyl Addict)
BRAINDEAD: No Consequences: CD
To their credit, these guys try to stir things up by soldering a smidge of pop sensibilities to the nouveau hardcore template, but ultimately the lack of conviction inherent in said template results in something that’ll probably appeal primarily to the scads of kids who think Hot Topic is the punkest fucking place on earth to spend twenty-five dollars on a Converge T-shirt. –Jimmy Alvarado (Burning Bridges)
BRASILIA: A Life Desired: LP
When this record is playing, everything in my world is suddenly cool. Something about this music... Brasilia tread in territory similar to Broadcast and Stereolab. Synth driven with real back up instruments. The songs float in a trancelike shoegazer way with droning keyboards, dream-like female vocals, and throbbing bass lines. There is a haunting tone throughout that pulls you in, and puts you in the moment. I could, and do, listen to this for days on end. –M.Avrg (Obscurist Press)
BROKEN: At the Border: 7”
They say this slab of (gorgeous clear blue) vinyl is “dedicated to any band that has had to deal with tight-assed customs and immigration officials at bullshit border crossings. Music has no boundaries.” For my sake, I’m sure as hell hoping Chicago just got some of those fancy borders. A waste of a (physically) beautiful record. –Megan (Vex)
BROTHERS GROSS, THE: Introducing the Brothers Gross: 7”
Straight ahead indie rock, but they sound like they love what they do and it’s catchy enough. Just not shaking my tree. –Speedway Randy (Silly Girl, myspace.com/sillygirlrecords)
BUDGETS, THE / BUST!: Destroy Modern Rock/Improve Modern Rock: Split 7” EP
Budgets: The opening salvo, “City of Devils,” is a nice, catchy bit of punk rock. The next tune ain’t quite as catchy, but does the trick well enough, especially considering they’re apparently a two-man outfit. Bust!: Aggressive alt-rocky punk stuff. Recording’s a bit thin, but there’s enough of interest coming through to leave the impression that they’re probably be interesting live. –Jimmy Alvarado (Cassette Deck)
BUGS, THE: Self-titled: CD
From the first song, I’m thinkin’ “Wow, these guys sound like they desperately wanna be the current Queers trying to be the “We’d Have a Riot Doing Heroin”-era Queers, only with dopier lyrics about “lesbos,” smoking dope, fearing becoming gay, a desire to be Mexican, and an unhealthy obsession with Dave Navarro’s goatee. Then I look at the press sheet to see who these quasi-Queers are and, lo and behold, one of ’em is a Queers bassist. Dunno what’s sadder, though—that their strained efforts at being frat boy offensive ring hollow, or that the music’s light years better than the last Queers album I heard. –Jimmy Alvarado (www.myspace.com/zodiackillerrecords)
CARRY-ONS, THE: Is Anyone Listening?: CD
Nashville’s Carry-Ons are a very simplistic, stripped down political melodic punk band with a slight ska influence. There’s a dark, morose quality to the vocals that I like and this is a solid release overall. Listening to The Carry-Ons is like eating above-average, regional fast food. You’re glad you didn’t go to Burger King, but you’re still eating a fast food burger. –Art Ettinger (Stik Man)
CATALYST, THE:Marianas Trench + 9: CD
Following in a long line of similar bands from their home state of Virginia, The Catalyst play epic, screaming hardcore. The thing that sets them apart from the pack is the murky, manly AmRep rock element that they add to their basement-core. It anchors the better songs on this CD, which is a collection of out-of-print EPs and splits. The weaker songs are kinda herky-jerky and unfocused, almost as if they were trying to see their instruments through a cloud of smoke, if you know what I mean. I don’t know what your weekend’s looking like, but I suggest you turn off Jerry Maguire, get off the couch, and give this a listen, especially if most of your friends wear tight black T-shirts and never shave. –CT Terry (www.theperpetualmotionmachine.com)
CATCH YOUR BREATH: Life & Sounds: CD
Pretty decent outing—eight-song howler of a hardcore record that speeds through and gets the hell out with little flourish or fanfare. What comes to mind is a mixture of the density and shooting-for-epics of Modern Life Is War and the heavy nod to Motörhead-rock that Burial’s full-length gave us. They don’t quite meet the stature of either of those bands, but it’s not for the lack of trying. The best thing they’ve got going for them is the fact that they don’t try and drag stuff out with wanking solos or lengthy intros that attempt to be all atmospheric but usually just come across as boring. This is some no-frills stuff, which works in their favor. Though the fact that they entirely discard said approach in the last song, “Don’t Let the Shadow Touch Them,” in lieu of that aforementioned note-heavy, drawn out, balled-style definitely doesn’t work in their favor and ends the record on a pretty lackluster note. –Keith Rosson (Dismantle)
CAVALCADE: Into Bolivian: CD
Marching powder? I’m assuming that my supply was left out of the press kit with this one. I could have just looked at the cover and told you I would despise this: cookie monster vocals backed by boring prog rock metal. I did listen to this a couple times to make sure—yep, this is bad. They also totally disembowel a Fugazi song at the end of this, too. Ever see a dead deer’s entrails on the side of the highway?Into Bolivian is the audio equivalent of that image. –Sean Koepenick (BMP, no address listed)
CHEAP GIRLS: Find Me a Drink Home: CD
This is very guitar-driven, with a thick and fuzzy texture occasionally drowning out the vocals, which are very reminiscent of Michael Stipe. Unfortunately, when I’m getting into a record only to realize there’s no lyric sheet included I get somewhat annoyed. Instead, we’re given some out-of-focus photographs, including one of a shoe, and a recording note stating “Cheap Girls wear shoes made by No Sweat Apparel.” I think there’s no better way of telling people you have nothing to say than prioritizing apparel over content. I like the name of the band and album, but even after a couple of listens I found myself having trouble differentiating between tracks. Every song had the same tempo, and if I didn’t catch the breaks between them, I would have thought it was one really long track. The exception is “Her and Cigarettes,” in which they go acoustic and throw in some keyboards. Good background music to ignore while reading. –Rene Navarro (BMP)
CHEAP TIME: Handy Man: 7”
Every now and again, a record reviewer can be reminded why they put up with daunting task of writing endless slander about the steaming piles of record refuse dumped into our review piles. It’s a good thing I already have plenty of resale items to potentially fund my alcoholic leanings because this here record will not make the drive to the used record store. Cheap Time, who I believe just released a full length on In the Red Records, offer up two garage pop gems with all the right amount of fuzz and distortion in the tradition of bands like The Stooges and Red Cross, but also with a hint of the garage power pop of bands like Teengenerate and The Potential Johns. –Dave Disorder (Douchemaster)
CHEAP TIME: Self-titled: CD
Four words: Falling Down, Ginger Snap. Buy the record and know what I mean. This ain’t no decoder ring marketing gimmick to tell you to be sure to drink your Ovaltine. I get nothing out of telling you which records are worth a damn. Here is a little story that to prove it. So I totally fuck over Razorcake every month by not doing my reviews because listening to seven records that suck monthly sucks. But every now and then you get a diamond in your butthole. A sparkling little turd that peaks your interest and turns out to be valuable. In fact, a friend sent me a text message warning me how awesome this record is. It actually got me excited to do my fucking record reviews. That never happens, unless Todd yells at me. Cheap Time is awesome poppy garage shit that is so flamboyant and redundant you can’t help but mouth the words to the chorus you can’t understand. Not surprised to hear another solid gold motherfucker from the motherfuckers who brought us King Kahn And The BBQ Show and the Jay Reatard. What? You don’t have those records either? Fuck you. Stop wasting my time. –Gabe Rock (In The Red)
CHEEKY: Choke on a Cheeseburger: 7”
This is easily one of the best records I’ve heard this year, and a debut record nonetheless. A primarily female band, Cheeky should fit in nicely for fans of The Measure or This Is My Fist, but by no means is this a copycat band. Cheeky does their own thing, punk as shit, but not necessarily breakneck. Just kind of deliberately badass. Top that with a twenty-year-old New Yorker girl (or two) screaming at you, “You namby pamby! You fucking twinkie!” And the charm is not lost on me. –Nick Toerner (FreedomSchool)
CHEEKY: Choke on a Cheeseburger: CDR
I don’t know if it was intended as such, but when I listen to Cheeky I hear a total throwback to the Recess catalog. There’s the fast, snottiness like mid-era FYP, with Bent Outta Shape-similar leads sprinkled throughout. Meanwhile, there’s young lady vocals screaming about jerks at shows, being mad because of jerks, and jerks in general. As a fan of a lot of these things from Recess I’m reminded of, I think this is a flawless EP, and officially think this band completely rules. –Joe Evans III (FreedomSchool)
COCKSPARRER: True to Yourself: 7”
Two previously released tracks, the title one from their most recent album and the flip a live version of “Chip on My Shoulder” from the Runnin’ Riot Across the USA album. Although both tracks are fuggin’ great—c’mon, it’s Cocksparrer we’re talking about—I kinda wonder if it’s worth the effort to hunt this out if you’ve already got both those discs, unless yer some kinda collector, or like singles with pictures of punk rockers on the cover. –Jimmy Alvarado (TKO)
COCKSPARRER: True to Yourself: 7”
I love it when you put a new record from an old oi band on the turntable and you can tell who it is in the first dozen revolutions. Doesn’t fall too far from the tree and that’s just fine with me. Backed with a live version of “Chip on Your Shoulder” recorded in 2000, though the song was originally published back in ’77. Essential for Cocksparrer completists. –Jim Ruland (TKO)
COLA FREAKS: Self-titled: EP
Really good stuff here. Guitar-driven punk rock similar to the Vicious and Observers with its straight forward approach and overall flow of the songs. More about mood than bashing you over the head. “Ingenting Set” opens up with a mid tempo pace and a little bit forlorn melody. “Gi Mig Piller” is the most upbeat of the three songs and “Ctrl Alt Delete” closes off somewhere in between: upbeat and introspective. Worth seeking out. –M.Avrg (Hjernespind)
COLD ONES, THE: Self-titled: 7”EP
A Gainesville dude band. (Even if I’m wrong, geographically, the sonic geography checks out.) And I mean that in a good way. You get the feeling that they love Tom Petty and would fight for decent Merle Haggard tickets, but feel more comfortable playing straight-ahead (on first listen) good-weird punk (Fay Wray, The Nervous Dogs, and Watson come to mind). It’s got the feeling of open air flea market, Florida-sized cockroaches, flatland underdogs in flip flops playing in a bar where most of the clientele have knives clipped on them somewhere (for either work or “protection.”). The Cold Ones don’t blow me away, leaving me in the middle of the street without my clothes, but I really enjoy their three songs, and I have a feeling I’ll be spinning this 7” often. It’s like sitting down at a bar and being happy that the locals are already there. –Todd (Sooooo Intense)
COMA LILLIES, THE: Memento Mori: CD EP
According to a note inside, the disc was recorded “for the first two tracks. The rest are goodies for you.” Ironically, the first two tracks are the weakest here, sounding like instrumental bits written for the soundtrack to a movie that doesn’t sound too interesting. Get the singer from Fate’s Warning on board to drop some vocals about gremlins eating his spleen and satanic donuts over all that intricate, occasionally jazzy bombast that comprises the rest of what’s here, though, and you’ve got yourself one wicked interesting metal band. –Jimmy Alvarado (www.denovali.com)
CONCRETE FACELIFT / MOTHER SPEED: Split 7”
Mother Speed: think skateboards and forty ounce beers. Fun but sloppy, skinned knees and hurt feelings included. Concrete Facelift: awesome name by the way—more like skateboards and trucker speed. –Dave Disorder (Party Time)
COPYRIGHTS, THE / METHADONES, THE: Split: CD
Two superhero camps have joined forces to beat the crap out of stale-ass pop punk villains! The Methadones start off the album with the secret power pop-packed formula they’ve perfected over the years. They always manage to take me to this warm and fuzzy place that smells of depression and alcohol and root beer-flavored lollipops with their brand of punk rock, and I welcome the feeling in with open arms. The Copyrights side of the split wins hands down. Their songs include fantastic lyrics that tug and pull at every emotional string, from happiness to devastation, and even round the set off with a cover that kills all the other songs on the record while managing not to sound like the original tune. Now that’s fucking talent. –Mr. Z (myspace.com/transparentrecords)
COPYRIGHTS, THE / METHADONES: Split: CD
Splits are always a dicey proposition. Sometimes you just can’t help it, and one side blows big ape chunks. Not so with this baby. Meths are back to a lean, mean four piece and the results on the first six tunes on this speak for themselves. Top notch songwriting, cool leads from Byrne, and the rhythm section is rock solid. “Under the Skyline” will be encouraging some drunken sing-alongs, and that’s a good thing. The Copyrights hold up their end of the deal on their side. “Keep Me in the Dark” has a chorus that will remain lodged in your veins like a good sugar rush from a Slurpee. They even tackle a cover by The Primitive Radio Gods. Intriguing. Impressive gentlemen, most impressive. –Sean Koepenick (Transparent, no address listed)
CORPUS DEI: Self-titled: 10”
I’m not exactly sure what genre I should determine this is. I’m guessing it’s a bit of doom, sludge, hardcore, and metal. One thing for sure is that the music is mean, dirty, and vile. Its mixture of tempo changes makes it feel like a combination of panic attacks and emotional depression. Dirty, bottom-heavy Sabbath riffs bring forth the sense of evil. Blasting fast parts charge at your face like a windstorm. Vocals are yelled and shrieked to emphasize the overall madness. I started out in a decent mood but soon got very agitated listening to this. Pretty good result, I say. –Donofthedead (Feral Kid)
CRAPPY DRACULA / SONOROUS GALE: Split: 7” EP
Both bands here sound like their tracks were taken from some long-lost ‘80s cassette compilation of obscure bands that never really did much more past contributing tunes to cassette compilations. Neither band is bad, per se, so much as not really managing to put across something with much lasting impact outside of, in the case of Sonorous Gale’s contribution, a vaguely Hole-like feel. Could totally be the recording quality, but this just ain’t workin’ for me. –Jimmy Alvarado (Crappy Dracula World Headquarters)
CRAPPY DRACULA: My Ass: 7”
Twelve-year-old dudes with acne who lock themselves in their bedroom while playing video games online might think Crappy Dracula are wicked funny. Me, not so much. How many songs about a fat guy rolling down a hill does a dude have to hear in his lifetime before he doesn’t find it hilarious anymore? The answer is one. One time. If I wanna laugh at something stupid, I’ll put on Weekend at Bernies. –Dave Disorder (Crappy Dracula)
CRAWLERS, THE: I Hate Michael Vick: 7”
Ah, fuck yea! The hidden gem of my bimonthly Razorcake package. This Portland, OR punk rock band serves up three fast songs that are clearly influenced by ‘80s hardcore, but rise above the gazillion bands aping Black Flag these days. To compare them to a band that‘s currently got a bit of a buzz around them, I’d say that The Crawlers have a Cloak/Dagger sound to them, a sound that’s rooted in classic hardcore but brings in elements of stuff like Toys That Kill. Ignore all of my name dropping nonsense if you want, but the point is that this is fast and catchy as shit. I’ll be picking up their full length ASAP. –Dave Dillon (Blind Spot)
CRETEENS, THE / STRAIGHT ARROWS: Split: 7”
Man, The Creteens don’t quit. Edgy, biting, dirty punk songs with all the catch of power pop hooks inside the dirt. The water in France has been amazing the past few years with Creteens, The Fatals, Les Hulks, etc.—rough, screaming, no-frills knockout punk with real catchiness you remember from ‘60s garage. I’ve really liked all the Creteens singles equally, as their website says, “being this consistently dumb is pretty fuckin hard.” With the bar set high from side A, I was surprised to really like side B of the Straight Arrows from Australia, the first stuff I’ve heard from them. They fit the Creteens mold as well without being a retread. The first song sounds like it was recorded not just in a bedroom but with the band under the mattress, going at it like they thought no one would ever care. The second song sounds like “Louie Louie” reworked. A great split that would make The Mummies proud. –Speedway Randy (Resistance A Go Go, myspace.com/resistanceagogo)
CRETEENS: K-Way Bleu: 7”
Hot damn. Edgy, biting, dirty punk songs with all the catch of power pop hooks inside the dirt. The vocals and bass sound like they were recorded in my car trunk on the freeway, the guitar sounds like the scraping of my brakes, if my car could play chords. Drums? Potholes. Maybe if Supercharger was a Teengenerate cover band, you could get something this melodic out of the gutter. –Speedway Randy (Boom Chick)
CREVECOEUR: II: CD
Mellow, mostly acoustic soundtrack music. They play their instruments well, but outside of spicing up the drive to work a bit, this wasn’t particularly crucial listening. –Jimmy Alvarado (www.denovali.com)
CRIME DESIRE: CD
Despite the cheesy lyrics—c’mon, you guys seriously have a song called “The Vampire’s Spell?” Seriously? And songs about “Satan’s bride” and “Satanic hordes against Christ?”—this CD collection of various releases actually kind of rules. At least the first half of it does. Comprised of their newest full-length, an EP, and then an LP from 2005—in reverse chronological order—the first sixteen songs vaguely smoke in the same dark, menacing way that Born Dead Icons do; heavy on the doom but still with enough melody and rocking undercurrents to keep the listener interested. It’s when you get to the last LP that things go south really quickly; the music’s much more thrash-based—which in this case translates to more boring—and the singer goes from using what sounds like some pretty unique double-tracked vocals to just straight out high-pitched screeching. Really high-pitched. The difference between the EP and the ending LP is substantial, and not in a positive way. This is a band that’s definitely gotten better with age. –Keith Rosson (Life’s A Rape)
CYCLONES: We’re Livin’ like Weasels: CD
I’ve probably heard “I Need Lunch” covered no less than a hundred times (best/most fun award goes to Big Meat Hammer from Portland, ME). Absolute worst goes to these guys right here. Slow where it should be fast. Whiny where there should be aggression. Just all wrong. The rest of the album sounds sort of like a sped up auction caller leading a dosie-do jamboree. –Megan (www. myspace.com/thecyclones)
DALETH / BLUSHIFT: Split: CD-R
On one hand, nice work on recycling the packaging of old dollar-bin records for this release, especially with the awesome green on gray silk-screened cover, though I was a bit disappointed to just find a CD-R inside. As far as the music itself goes, Daleth’s got a riff-heavy thing going on, somewhat like dark stoner rock ala Sword or The Fucking Wrath, though with a bit more speed thrown in there and a recording that’s pretty more ragged than those bands. Still, not bad, especially considering it’s one dude doing everything himself and he laid the drum tracks down first without having any idea what the rest of the music would sound like. Blueshift is one woman hammering it out on a violin—the resulting cacophony is loud and abrasive enough to peel skin. All told, there are some interesting ideas at play here, sonically and visually, but it’s still a bit too cerebral for my tastes. –Keith Rosson (For Documentation Only)
DANIEL JAMES GANG, THE: In This City: CD-R
As much as I love the Chinese Telephones songs themselves, there’s something to be said about seeing them live, and watching Daniel James go wild with his guitar. He can say he’s “not that good” all he wants, but he’s got his own thing going on, and he pulls it off, and well. This solo band of his is definitely more in that vein, I want to say “like Led Zeppelin, Rolling Stones, and such,” but ultimately I have to come clean and say “the stuff I wrote off up until a while ago (still do to an extent) because it’s not punk.” But yeah, it’s very classic/garage/power pop influenced stuff that’s pretty cool, and I think “No Reason to Stay” is my favorite song on it. –Joe Evans III (Self-released)
DAYLIGHT ROBBERY: Self-titled: 7”
I usually like to refrain from being completely obvious in my comparisons, as if my life of intense music nerdery dictates that comparing the male-female vocals of Daylight Robbery to, say, John Doe and Exene Cervenka, is a total cop-out. Nerdy pride aside, the fact of the matter is that this band truly sounds like a slightly less rock’n’roll version of X, and they also happen to totally rule. This definitely does not sound like a debut release. These are tight, well-crafted songs steeped in the sound of early ‘80s Los Angeles post punk ala the aforementioned X and Fire of Love-era Gun Club. It’s actually somewhat surprising that this band is from Chicago and not L.A. Really cool, moody-yet-upbeat stuff. –Dave Williams (Residue)
DEAD BETTIES, THE: Destination I Do: 7”
Kind of bummed this one had no label or address. I really wanted the fellas in The Dead Betties to enjoy my perspective of their record. Simple overview here. Condensed version, if you will. Dude sounds like a lady. Guitars are a wankin’. Un-rhythmic white dudes are a wailin’. The only logical conclusion, somebody get a search party together. Operation: find these guys’ balls. –Dave Disorder (Self-released, no address)
DEAD CITY DREGS: Landmine: CD EP
St. Louis four-piece that lists Rancid as a major influence. Thank the sweet lord I’m not hearing that on this one. Beer-fueled guitar rock is a better starting point. Scratchy vocals and mass back-ups on the choruses keep the wheels turning. “Black Days” and “So Long” are winners on this short but sweet chaser. –Sean Koepenick (BTTP, no address listed)
DEAD MECHANICAL: A Great Lie: 7”
Why the hell isn’t Dead Mechanical full-length on vinyl yet? There, now that I got that out of my system—this 7” is fucking great. Melodic punk that’s a little soft around the edges. Like if the Monikers started as a Gin Blossoms cover band. Anybody who’s done their fair share of Jawbreaker praise, but recognizes the band as one more stone in the foundation of contemporary punk rock and not the end all of everything righteous, will most certainly get a kick out of this record. –Daryl (Sex Cells)
DEAD RINGERS: It Sounds Loud…: 7”
Out of four songs, I can’t say that there’s one that I would put on again. Yawnsville, late ‘70s New York punk influenced band. All go, no slow…and no hooks. Reminds me of the Marvelous Darlings 7” I just reviewed, except they had the decency to keep it to two songs. Maybe this would go over a little better in a smaller dose. –Stevo (Gimme Danger, www.myspace.com/deadringerssf)
DEMENTED ARE GO: Live and Rockin’: CD
I remember Gator from the long-gone Bea Pickles playing these guys for me on the way to a scooter rally both our bands were playing and wondering how that singer managed to do that with his voice. Seriously, it sounds part Tuvan throat singing, part tracheotomy side effect, and it fits the band’s variation on the psychobilly template just fine. This is a reissue of a live album originally on Link Records, featuring the band tearing through songs with such charming titles as “Human Slug,” “Pervy in the Park,” “Sick Spasmoid” and “Anal Wonderland.” The performances are spirited, the tempo revved up, the sound great, and the band in very fine form. Can’t ask for much more than that, I reckon. –Jimmy Alvarado (www.cherryred.co.uk)
DEMONICS: Hot Rod Pussy: CD
This band is a bit of a guilty pleasure of mine that appeals to my puerile inner horror kid. With its obsession with fast cars, fast women, and monster movie ephemera, they manage to mine the same influences as the Queers and Sloppy Seconds and come up with something similar to both bands, but not so much to sound like another cheap rehash. –Jimmy Alvarado (www.aliensnatch.com)
DIALS, THE: Amoeba Amore: CD
This is a supremely enjoyable pop punk with great girl group vocals and keyboards. Think the Soviettes with a little more power pop in their veins, or the Epoxies with less sci-fi. Songs like “Antonio,” “Amoeba Amore,” and “Joe Lies” are really fun upbeat numbers. A few of the songs, like “Aim and Shoot” and “Sharp Teeth,” are moodier and darker in tone. This isn’t a bad spot in the record, since every song is supremely listenable. There’s also a cover of Foreigner’s “Urgent” which, by all means, should suck but instead deconstructs the song so it sounds like an awesome lost B-52’s and Devo collaboration. Check this stuff out. –Adrian (No Fun)
DIGITAL LEATHER: Sorcerer: CD
My parents only bought Greatest Hits records of bands. When I was growing up, I thought Seals and Crofts, Chicago, and Waylon Jennings only had one record each, and it was amaaazing. Finally I have a Greatest Hits to give to my kids. A-side equals (some of) the best DL songs from years of tons of albums from him. B-Side equals other best songs live, recorded quite well at Gonerfest. Math says an incredible record I’ll be playing heavily. DL often feels like ‘80s new wave electronic vibes and Bowie dramatic voiced lyrics about robots and club assholes (“Hey there Mr. Happy / what you smiling about / did you sell out to the lie / that you’re really important”), but with real darkness. The garage punk spirit makes DL rough and lovable a la The Screamers and other bands that made minimalism genius—DL’s cover of The Urinals “Hologram” is the best version of it since the original, catching all the raw modern desperation. If the studio side doesn’t have enough noise for you, the live side is vicious. My parents had plaid pants and ELO. I have black and Digital Leather. –Speedway Randy (Goner)
DIRGES, THE: When Laughing Got You Killed: Demo CD
I’m going to go out on a limb and say this is the best Irish-American folk punk band I’ve heard since the Tossers. One of the things that put me off about this album during the first few listens—and that I’ve now come to see as a strength—is its diversity. Bands that draw on the Irish music have a rich vein of material to borrow from: mournful ballads, frenetic reels, and the madly poetic drinking songs. The Pogues set the standard, and with it, some well-defined parameters. The Dirges will have none of that. The Dirges’ approach to Irish music is to integrate into a larger sphere: folk, roots rock, and punk. The result is a richly textured album that continues to surprise after many, many listens. An extremely impressive debut. –Jim Ruland (Self-released, www.myspace.com/thedirges)
DIRTY LOOKS: 7”
Now-defunct (I think) band who had former members of Bent Outta Shape. Too bad because there’s some pretty good stuff here. Vocals kind of like Lefty Loosie’s Addie (especially on “Theifs”). If they are still around, I want more. –Megan (Iron Pier)
DIRTY TACTICS: Self-titled: CD EP
Guitars influenced by more recent fare from the Dischord crowd get cleaned up and lathered with enough pop sensibilities to please any major label interest that might be in the offing. –Jimmy Alvarado (www.undergroundcities.org)
DOMESTICA: Mommyhead: 7”
DOMESTICA: Self-titled: CD-EP
Don’t remember much at all about the ‘90s band that preceded Domestica, Mercy Rule, but they sound like they learned quite a bit from their adventures in that decade. The songwriting, loud guitars, and general feel of the tunes recall that brief period in the late ‘80s/early ‘90s when bands were experimenting with what would happen when you mixed this’n’that with punk’s energy. Although probably not stuff the average Joe wanting something to complement his DRI fixation would wanna invest in, their tunes are catchy, well crafted, and leave pleasant memories when “indie rock” wasn’t a bad thing to call a band. –Jimmy Alvarado (Speed Nebraska, no address)
DONNER PASS: Demo ’08: CD-R
Postpunk five-songer with a heavy nod to Wire’s instrumental interplay and jagged edges, except for what is apparently their party track, which is the same as their band name and sounds like a raved-up “Louie Louie” with Matt Freeman singing. There’s something to be said for a band that sings, “Once again I see three severed heads” and makes it sound like a pretty good time. Given a brighter recording and a bit more of an aesthetic appeal—I know it’s just a demo but there’s just about no info here whatsoever besides the song titles and a really pixilated cover—I could find myself coming back to these songs more than a few times. –Keith Rosson (Donner Pass)
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