Welcome to Razorcake | DIY Punk Music | Punk Bands | Punk Rock Bands | Punk Magazine Welcome to Razorcake | DIY Punk Music | Punk Bands | Punk Rock Bands | Punk Magazine

· 1:Razorcake #79 Now Available
· 2:#307 with Mitch Clem
· 3:L.A. Zine Fest 2014 by Andy Garcia
· 4:#308 with Kurt Morris
· 5:Webcomic Wednesdays #64

New Subscriptions
Stickers and Buttons
The NEW "Because We're Fuckin' Classy" Koozie

Razorcake #79
7 Random Back Issues for $25 | For Intl Customers
Zisk #24
Grabass Charlestons, Ask Mark Twain LP
Grabass Charlestons, The Greatest Story Ever Hula'd LP

Can't find Razorcake at your favorite store? Lend us a hand and we'll send you a free issue.

Razorcake will send you one free issue if you ask your librarian if they would carry Razorcake in their stacks. (This offer is good for both traditional libraries and independent libraries.) To get the free issue, you must send us the librarian's name and email and the library's postal address. We will then contact them directly and donate a subscription to them. U.S. libraries only, due to postage.

Spokenest: We Move 12"EP

Record Reviews

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41

| 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M |

| N| O| P| Q| R| S| T| U| V| W| X| Y| Z|

< Prev Section | Next Section >

RSS Feed

Split : 7”
ADD/C are one of those bands that I would have killed to be hip to when I was just getting into DIY punk. Two rough’n’tumble, sloppy-yet-sturdy punk songs that reek of wide-eyed nights and blurry mornings. So pissed, so catchy. You gotta love good punk that’s played by dudes who look like they work at a gas station. On the other side, Landlord contribute three stripped-down tunes; kinda college rock, but on the punker side of the spectrum. Solid stuff, but the vocals remind me a little too much of that schmub from Bright Eyes. –Daryl Gussin (Plan-It-X South)

No Hay Descanso: LP
Interesting mix of street-level Mexican music and anarcho-hardcore from a band hailing Portland, Oregon. The songs bounce back and forth (sometimes even within the same song) between almost folky bits vaguely influenced by huapangos and rancheras to blazing thrash. Nice hand-screened cover with lyrics (including translations for the Castellano-challenged), too. –Jimmy Alvarado (Tomorrow Belongs to Us, punkisaghetto@gmail.com)

Apocalypsongs: CD
Adem plays singer-songwriter stuff accompanied only by a guitar. As a writer myself, lyric-driven songs are my favorite kind of music, but I just didn’t connect with his songwriting or delivery. Though it didn’t click with me, I can respect it for what it is. That’s not my complaint. It’s the packaging I have a problem with. It just comes off as overwhelming and pretentious. It’s two CDs long, and part two (the second CD) is titled: “Infinite to Extinct” and is a five-part, five-track suite. As soon as you know that all you’re getting is a dude singing over his guitar, you realize what a self-indulgent plod you’re getting into. This guy’s really not bad, but a little restraint goes a long way. –Craven (Intense Human Victories, contact@intensehumanvictories.com)

Fifth Overture: CD
Egads! A re-issue of the Adicts fifth album, and it appears that the ‘80s hit the boys mighty hard. Synths, that ‘80s pop band mix, a decidedly tamer sound…. this is pretty scary. As a pop record, it ain’t too shabby, but as a punk-related release, this is pretty danged bad. Jeez, I had no memory of this sounding this tame. –Jimmy Alvarado (Captain Oi)

Rise and Shine: CD
Another band from the old days comes up with a new release and this one ain’t so bad. Monkey’s voice sounds different, but the music’s still the same anthemic punk rock the Adicts are known for. Only thing is I’d swear that the version of “Falling in Love Again” is the same one from way back when. –Jimmy Alvarado (Captain Oi)

Twenty-Seven: CD

One of the great things about reissues is that you get a second chance to give a listen to something you totally (and wrongfully) ignored that you shouldn’t have back when it originally came out. Case in point: this album. By 1992, when this came out, I was pretty much ignoring most of what the “old” bands were coming up with, mainly because so much of what they were coming up with sucked ass. ’Tis a pity, too, ’cause, had I not been such a fucking snob, I would’ve stapled this bad boy to my stereo to insure that nothing else would be played. Giving up on the pop road to fame, punk’s favorite droogs went back to doing what they do best, namely writing some great punk rock tunes. There ain’t a bad one in the lot (well, actually, “Give Me More” is a little too “rock” for my taste, but that’s the only one I can muster a gripe about), some of ’em whip by at a breakneck pace by Adicts standards, and damn near all of ’em are prime “classics” material. Fuck, I feel really stupid for missing out the first time round. Thanks for the second chance to redeem myself. –Jimmy Alvarado (Captain Oi)



–Jimmy Alvarado (Captain Oi)

Rise and Shine: CD
This release from the Adicts has some musical gems as well as some songs that are not as precious. The song "Woke up This Morning" is a muffled mess with a garage rock sound and distorted vocals that simply is not pleasing to the ear. However, the next track, "Black Sheep," is a quintessential Adicts song that is fast paced with catchy riffs and lyrics that are easy to sing along to and jump around to like an idiot. The Adicts have been around for over twenty years and on this album they have a song called "We Looked Back," which expresses their appreciation to their fans as they reflect on the time gone by since they have been a band. The song has a Bob Dylan feel with the vocals sung in a strange talking voice. It is not their best song but the message of gratitude is still there. The best song on the album is "Cuppa Tea Song," in which the Englanders express their desire for home and a cup of tea while in America. The song is very simple but it is simply perfect. "Concert Adicto" is also a fabulous song, which is an instrumental piano mix that includes snippets of their songs being played beautifully on the piano in between classical piano measures. Overall, the album is a pleasant addition for fans of the Adicts, but if you are unfamiliar with their music, a different album such as Songs of Praise or Smart Alex would be a wiser choice. –Jenny Moncayo (SOS)

Twenty-Seven: CD
Here’s a re-release of their first comeback album from 1993. Everyone should know who these guys are. If you don’t, they are an old punk rock band from the UK in the late ‘70s and early ‘80s who dressed like characters from A Clockwork Orange. At the time, it was a fairly original niche in the scene. Over twenty-five years later, I am far less impressed. I mean even KISS took off their makeup when they got old and creepy. I really mean it when I say old and creepy, too. Just take a look at their website. Regardless, this is a pretty standard re-release. Not quite as catchy as the music that made them huge in the early ‘80s, but still catchy pop punk that if you were a fan and don’t already own this, you should pick it up. If you are brave, you could check them out live too, because they are still together and touring with their original line up. –Guest Contributor (SOS)

Rollercoaster: CD
The Adicts are the longest running punk band with the original lineup in the world. First starting out as Afterbirth and the Pinz in 1975, then changing their names to the Adicts in ‘76, they seemed intent on zagging when the rest of the English punk hordes zigged. Opting for fun, humorous, and ironic songs (a la the Toy Dolls) instead of politics and class war, they were able to carve out a unique smiley face on punk’s back. Their history could easily be a Spinal Tap of punk rock. Early success. They got signed by a major. Got sucked dry. Released a new wave record. Got back on their own two feet, and keep plugging away. Almost thirty years down the road, they release an album of entirely new material. How is it? Okay. Instead of the fire in the belly of their first record, Songs of Praise, it seems that they’re more opting for a living room full of votive candles. The setting’s mostly subdued; the tempos are relaxed. There are even hints of ELO (“Men in Black”) and Lou Reed (“Cheese Tomato Man”). My favorite songs are very close to what the modern day Skulls are hammering out. Sure, the songs are still strange and wacky, but with a little tweak here and there, most of them could be used for Saturday morning cartoons. It isn’t necessarily a bad thing, but it’s not exactly tweaking my nipples and making me want to smash parking meters, either. –Todd Taylor (SOS)

Smart Alex: CD
Album number three for these boys gets re-released with extra tracks, lyrics and liner notes that, among other things, explain why they changed their named to ADX for a short period in the 1980s. The formula remains the same as their previous releases: take punk rock and bash it over the head with pop sensibility and a sense of humor. Standout tracks include the title tracks, “Crazy,” “Bad Boy,” “Tokyo,” “Rockin’ Wrecker” and “The Odd Couple.” Be sure to thank Captain Oi for providing another gem from the old days on which to plunk your green. –Jimmy Alvarado (Captain Oi)

Sound of Music: CD
A re-release of this punk rock institution’s second album. Expanding the sound a little, yet continuing down the path begun on their first album, Songs of Praise, Sound of Music is a fine slab of English punk rock, replete with Clockwork Orange imagery, a healthy dose of humor, and some damn fine songwriting. Many of the tracks here are now considered classics, including “Chinese Takeaway,” “Joker in the Pack,” “My Baby Got Run Over By a Steamroller,” and “Shake Rattle Bang Your Head.” Also included are some B-sides, including their take on the Ramones’ “I Wanna Be Sedated.” –Jimmy Alvarado (Captain Oi)

Fifth Overture: CD
Egads! A re-issue of the Adicts fifth album, and it appears that the ‘80s hit the boys mighty hard. Synths, that '80s pop band mix, a decidedly tamer sound…. this is pretty scary. As a pop record, it ain’t too shabby, but as a punk-related release, this is pretty danged bad. Jeez, I had no memory of this sounding this tame. –Jimmy Alvarado (Captain Oi)

All the Young Droogs: CD
Brand new studio release from these veteran U.K. punkers. Having only recently discovered the awesomeness of the band’s live show (I know, shame on me), I was pleasantly surprised to find out they can still produce in the studio. Fans of early Clash and Cock Sparrer will find lots to love here. But The Adicts absolutely have their own distinctive sound. Luckily “Give It to Me Baby” is not an Offspring cover. Monkey croons in one song—”stop the world I wanna get off.” But I want to hang on for the ride. Viva! –Sean Koepenick (DC Jam,theadicts27@hotmail.com,dcjamrecords.com)

Human Fallout: CD
Sometimes I enjoy reading the press sheets that come with CDs. In the worlds these sheets create, each band is on the cutting edge of true awesomeness and humankind’s last hope for a good listen. The one included with this is no different. In it, one sees the words “genius,” “unique,” “superbly rocking,” “masterpiece of hardcore,” and “incredible” tossed around like mad. Sure, the band in question sounds no different than any other modern “hardcore” (metal) band that thinks down-tuned guitars and thrashy beats equals power—although to their credit they do attempt to address socially relevant issues, however poorly. Sticking to their native German to get their point across would’ve no doubt done wonders, but still, it’s nice to have the sheet. That way I can escape the mediocrity coming from my speakers by pretending it’s talking about another band, one that really is unique, incredible, and superbly rocking. Sure would’ve much rather have heard that band than this one. –Jimmy Alvarado (Engineer)

Reckless Relations: CD
Forget all your troubles with the down and dirty rock’n’roll (a la Dead Boys, Heartbreakers, Humpers, et al) of this London band. Plenty of sneering vocals, wah-wah guitar, trashy drums, and even a lot of rock piano to keep toes tapping and heads nodding in time. Hot little numbers: “Too Bad,” “Kickin’ down the Doors,” “Misery Addict,” and “Let’s Dance.” –Jessica Thiringer (Zodiac Killer)

Complete Demos 1980-86: CD
Let me begin by saying that any self-proclaimed punker that has neither heard of nor owns a copy of the Adolescents’ “blue” album should be immediately stripped of their official Johnny Rotten Pez dispensers and sent to perform gulag work for Britney Aguilera’s street team. A harsh sentence, yes, but ignorance of the Adolescents’ true greatness warrants just such a punishment. That said, let it further be known that any self-proclaimed punker who has heretofore procured a copy of the above-referenced “blue” album and fails to supplement it with a copy of this album will be due for a serious shin kicking, for this—a collection of demos (as the title implies) by the “classic” lineup of the band, before Casey went on to caviar-filled swimming pools and the 90210 zip code with DI, Rikk sold his soul to the devil to round out the classic lineups of both Christian Death and DI, Steve and Frank fell in love with Kat Arthur’s snake and joined Legal Weapon, and Tony moved to the SGV and achieved punk-god status with stints in Abandoned, God’s Riot and Flower Leperds—is surely no less mandatory for the collection. Of the sixteen tracks here, only three have ever been officially released (“The Liar” making its first appearance on Flipside’s Vinyl Fanzine Vol. 3, “Who Is Who,” and one of the two versions of “Wrecking Crew” included here appearing on BYO’s Someone Got Their Head Kicked In comp), four are songs from their first demo that they never re-recorded, one is an outtake from the sessions that resulted in the Welcome to Reality EP (a markedly different version of “Richard Hung Himself,” the song that would later provide DI with their first “hit”) and the remainder are alternate, yet damn fine, versions of songs that graced the “blue” album and its follow-up, Brats in Battalions. While some who believe that the glory days of punk died around the same time this band’s classic lineup sputtered to a halt will find closure and much to wax nostalgic over, this also serves as a nice hors d'oeuvre to whet the appetite before they serve up that highly anticipated new album they’ve been threatening to unleash for the past couple of years for those of us impatient for new product from the reformed Adolescents. Quit torturing us, guys, and deliver some fresh goods already. –Jimmy Alvarado (Frontier)

OC Confidential: CD
Conservatively guessing, I’ve listened to this bad boy at least thirty-five times in the last three or four days, so at this point I’m pretty well acquainted with the music contained herein. I’ve also been an unabashed fan since I heard their legendary “blue” album not too long after it was released, so I’m also well acquainted with their history and what they’re capable of when they set their minds to bringing the rock. That said, I can say with all conviction that they do, indeed, rock as only they can. Is it the same as the “blue” album, you ask? Well, no it isn’t, you ninny, but it also isn’t 1981, is it? You want rehash, pop that oldie into your player, bury your head in the sand, and pretend we’re still living in Reagan Country, kiddo. What it DOES sound like is TSOL’s more recent efforts, an extension of that original into new and interesting places. The dual octave guitar stuff that sounded so fuggin’ cool back then and ended up being one of the trademarks of the “OC punk” sound is still all over the place here, but it’s used in different, often subtle ways. The tempos are slower for the most part, but the intensity, the conviction, the thing that made them “hardcore” is still there, right up front, and so is the pop to temper the rage and give everything that musical “sheen.” The lyrics, the one place they could’ve totally fudged and gotten away with it, remain substantive (at least from what I’m able to make out) and Tony serves them up as only he knows how. They’ve even added a few new influences to the pot to give the stew a more interesting flavor (is that a dash o’ ska I’m hearing there?). Most importantly, though, this feels REAL, which is more than one can say about so many of the older bands who’ve decided to give the punk rock cash cow another milking—no resting on their laurels or riding on their name here; these guys have obviously put in the necessary work. You can bet that, as a fan, there are places I would’ve loved to see them go—a couple of no-frills thrashers here and there would’ve been nice—but I’ll gladly ignore roads less traveled if they keep coming up with songs just as amazing as “California Son,” which to me sounds just as crucial as anything else they’ve come up with to date. In short, yeah, I’m stoked as hell to have another crucial album from these guys, one that gets better each time I listen to it. Let’s just hope they’re planning to stick around awhile to keep building on what is already a solid foundation. Now if you’ll excuse, I gotta go and hit “replay” and spin this puppy again. –Jimmy Alvarado (Finger)

The Fastest Kid Alive: LP
This album has been a long time in the making. Me? I’ve been waiting with bated breath ever since the release of 2004’s OC Confidential came out, proving that the Adolescents were back and as relevant as ever. Right off the bat, as was the case in 2004, you can tell that the Soto/Reflex songwriting team has come a long way since the early ‘80s. These songs smack you in the face and drag you around the room, not necessarily with breakneck speed, but with hooks and melodies that can’t be resisted. It is very obvious in the lyrics that the Adolescents are very concerned with where the world is and the place where it is heading. From hating children to trying to save them, all in thirty years flat! It’s a change that suits them. I can proudly place this record along with my other Adolescents records. –Ty Stranglehold (Concrete Jungle)

Self-titled: LP
Was hanging out at Headline Records (thee prime place to satisfy all your punk rock needs, by the by [I’ll be expecting my payola check in the mail, John]) the other day and found myself and the shop’s owner spending a good amount of time trying to convince a younger kid that the Minor Threat record with their first two EPs on it was a sound purchase. The whole time, I’m thinkin’, “Why are we having to work so hard to convince this little mocoso that goddamned Minor Threat—specifically the very release I did the happy dance over when I found it in Lovell’s Records’ racks back in 1983-84 after spending an ungodly amount of time and effort looking for anything by ‘em—is worthy of his (probably short) attention span?” At that precise second, I realized that another of those so-called “generation gap” moments had just hit me square in the fuggin’ forehead. I’d gone through this previously, sometime in the mid-’90s, when I ran into some spiky-coiffed nincompoops who were all for the punk du jour band at the time but had neither clue nor interest who TSOL were. No, in neither case did I scream “POSEUR!” and proceed to steal their boots/creepers/Chucks. I instead tried to hep ‘em to what I thought was a touchstone band, and one that had a serious impact on my when I was of similar age, without sounding like the old curmudgeon punker asshole I probably sound like right about now. What’s the point to this long-winded diatribe, you ask? Suffice to say that, given recent events, I feel it imperative to direct what follows to the potential handful of folks who may not have come across this album before: forget whether or not you like punk, if you have at least one working ear, YOU NEED TO OWN A COPY THIS ALBUM. This is one of those albums that is a clarion call for all that is good, and right, and wonderful about punk rock, two twelve-inch sides of pure perfection that has changed lives, fueled whole swaths of a certain social movement, and has enjoyed a phenomenal thirty-year influence on an inordinate amount of bands, including a few you probably have heard before. What’s it sound like? Like tens of thousands of kids giving the finger to what their world expects them to be. It’s dark, funny, angry, seeping with teenage angst/frustration/alienation, blahdeeblahdeeblah, backed by some of the choicest punk/hardcore you’re ever gonna hear—fast, slow, melodic, still frighteningly topical, and stuffed to the gills with hooks that will haunt you for the rest of your life. Frontier’s honcho Lisa Fancher has not only made it danged easy to procure a copy by keeping it available for at least the bulk of the thirty years since it was initially released, she’s now added the incentive of colored vinyl to further sweeten the deal. I appeal to your good sense not as an overly opinionated windbag, but as a fellow music worshipper within whose life this very album has served as a soundtrack and stress with every fiber of my being: this, dear heart, is about as worthwhile a purchase as you’re ever going to make. I know I’ve said it before, and I hope my track record is good enough that you’ll listen when I say: trust me, and if you don’t, I’m sure the folks at Headline (shirts, books, patches, and a fine selection of tuneage for purchase [still waitin’ on that check, John]) and danged near anywhere else you can find a copy will concur. While yer at it, I suggest you also buy bigger speakers, ‘cause, as you’ll soon find out, you’ll need ‘em to play this bad boy as loud as possible ‘n’ share the love. Go. NOW. –Jimmy Alvarado (Frontier)

Live at the House of Blues: DVD & CD
I saw this at the record store and almost bought it. I had seen the band last year and this year and the shows were absolutely incredible. The songs are twenty-plus years old and they stand the test of time. I never tire of hearing them. The Adolescents were one of the first punk bands I got into and saw live. My expectation level for this DVD with accompanying CD was not too high, but I would buy it for sheer sentimental value. My expectations were surpassed. Taped using seven cameras and having all original members, minus one, Casey Royer, the sound and footage is amazing. On drums is Derek O’Brien, who many of you might recognize from Social Distortion. This is definitely addition by subtraction. His drumming is more precise and he brings up the tempo of the songs compared to Casey playing recently. Songs performed are from the infamous and classic blue LP, Welcome to Reality 7”, Brats in Battalions LP and new songs from their upcoming LP. For many of you who didn’t get to see the original line-up within the last year, you will miss out. Casey has pulled out again to focus on D.I. and Rikk Agnew just plain fell out. Replacing Rikk in the current incarnation is another Social Distortion alumni, Johnny Two Bags. I have seen this line-up and it’s every bit as good or better. If you watch closely on the video, Rikk no longer plays many of the solos he used to play. His brother Frank has basically taken on all the lead guitarist duties. Great band and great release. I watched this more than a few times and that says a lot. It just makes me want to go out and see them again. –Donofthedead (Kung Fu)

American Dogs in Europe: CDEP
Probably this platter slipped under the radar for a lot of fans, considering it came out hot on the heels of Fastest Kid Alive. That’s a crying shame since this is a solid mini disc. Soto and Reflex are keeping the ship afloat here, but there are no leaks in sight. All the Agnews are gone, but the songwriting is still top notch. “Destination Nowhere” is the last song here. That’s where you will be if you don’t have this on your shelf. –Sean Koepenick (Concrete Jungle, contact@concretejungle.com,concretejunglerecords.com))

Zero Hour: CD
I recently came to the realization that the reason I hate so much of the new "street" punk stuff is that I find a lot of the lyrical content to be pathetic, vapid and just plain stupid. I mean really, how alienated can one possibly feel when they hang out only with people who look exactly like them and listen to the exact same bands? As far as being alienated by "society," ain’t that what made you a punk, skin or whatever in the first place? It’s not even that I think that they should have the same values as I do or anything like that. I truly appreciate well-structured and intelligent lyrics even if I completely disagree with what they’re saying. If you truly must sing about beating people up and drinking beer, though, do it with some intellectual finesse, man. But enough of my bitching, the point is that I made it a point not to look at the lyrics as I was listening to this. From a strictly musical standpoint, this was some solid oi/punk with catchy hooks and sing-along parts. I enjoyed it. I couldn’t help myself, though, and peeked at the lyrics. I found them to be intelligently written, well thought out, and substantive. Thanks, guys for having brains as well as a pretty good band. –Jimmy Alvarado (GMM, PO Box 15234, Atlanta, GA 30333)

Lights Out: 7” EP
Well-executed but woefully pedestrian U.S. oi-punk. –Jimmy Alvarado (TKO)

Hate Generator: CD
A solid street/oi style CD without anything original or new but enough energy to keep me briefly interested. Kinda the way I feel about their live shows. –Toby Tober (TKO)

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)

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41

| 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M |

| N| O| P| Q| R| S| T| U| V| W| X| Y| Z|

< Prev Section | Next Section >

Razorcake Podcast Player

·Kid Dynamite

Razorcake Records

If you live in the Los Angeles area and want to help us out, let us know.

Get monthly notifications of new arrivals and distro and special offers for being part of the Razorcake army.

Razorcake/Gorsky Press, Inc.
PO Box 42129
Los Angeles, CA 90042

Except for reviews, which appear in both, the
contents of the Razorcake website are completely
different from the contents of Razorcake Fanzine.

© 2001-2011 Razorcake/Gorsky Press, Inc. Privacy Policy

Razorcake.org is made possible in part by grants from
the City of Los Angeles, Department
of Cultural Affairs and is supported
by the Los Angeles County Board of
Supervisors through the Los Angeles
Arts Commission.
Department of Cultural AffairsLos Angeles County Arts Commission

Web site engine code is Copyright © 2003 by PHP-Nuke. All Rights Reserved. PHP-Nuke is Free Software released under the GNU/GPL license.