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Razorcake #86
Wailing Of a Town, by Craig Ibarra
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Pale Angels, Imaginary People LP
Toys That Kill / Joyce Manor, Split 7"

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No Idea Records

Record Reviews

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Destructive Systems Collapse: 7”
A band that I have kept track of now for a few years. Starting with their first release, a split 7” with Holokaust, followed by their LP The One Who Bear the Scars Remember. They did another split after that I have yet to pick up with Iskra from Canada. I have also seen the band live through the years, so it is great to see firsthand this Los Angeles crust band grow and develop. On their latest release, a two-songer, they focus more on the music instead of just blasting it out. With songs in the four to five minute range, the band is showing more cohesion and displaying greater musicianship. That doesn’t mean this band is getting soft. They continue to play metallic crust that charges forward like a pack of bulls on a rampage. You get the drive to rock out to, hearing the chunky guitars force their way out the speakers. Growled, guttural, yelled vocals ensure that nothing pretty is going on. Drumming that is tight and pounded out with force. On this recording, I like how the bass was recorded: punchy and bright while still bringing forth the bottom end. If bands like Hellshock, Bolt Thrower, or Amebix fit your musical palate, I would believe this band would slide right into your tastes.  –Donofthedead (Threat To Existence)

Thieves and Leeches: LP
To see a band in their early stages, go through line-up changes, and still continue to stay together after a good amount of time warms my heart. Not many bands make it past the one or two year point. Many others don’t even make it out to play beyond their local scenes. This band has accomplished more and can add U.S. and European tours under their belt. I think the first time I saw the San Fernando Valley-based band was back in 2005 as a five piece. Currently, they are a trimmed-down force as a three piece. Musically, they used to fall into a cross of crust and anarcho punk, but this time around their sound has strong leanings of ‘80s hardcore. It’s a more direct approach in sound that takes the music into higher energy territory than in the past. The songs are precise, yet played with a bit more speed, which adds gusto to the music. The complexity is now in the chord progressions and work with more layers that gives the songs the epic feel. Production is on the clean and bright side of the spectrum, which better suits the new direction of the music. Clarity helps define each element. Lyrically, they continue on with their social political commentary of what disturbs them. They also add in a cover of Crucifix’s Another Mouth to Feed. As much as I love this new record, I am even more proud of what the band has accomplished. –Donofthedead (Profane Existence)

Split: 7”
Against Empire: More of a live feel and a bit cleaner sound from what I have heard in the past from these SoCal punks. The included songs are more in the d-beat vein and I like that they are a bit faster and have more of a rocking feel to them than we have heard in the past. Previously, they incorporated crust and black metal elements. This has a more direct, slap-in-the-face appeal for me. Knowing them, I’m proud that they keep progressing and growing with each release. Auktion: From Sweden. Unfortunately broke up recently. I had heard they were going to come to the states to tour. I was hoping the singer would have finally gotten me my shirt he had promised to buy for me a few years ago and never came through. Two tight d-beat numbers of their own that blast through in maximum efficiency. They too add a rock feel to their sound, not swaying to metal. –Donofthedead (Threat To Existence)

Bring the War Home: CD
Against Empire: The lyrics read like an anarchist band, but the music sounds like poor man’s thrash metal. Iskra: The lyrics were strong, and I totally empathize with their championing of the first nations’ cause. Their music, however—part metal, part Conflict-inspired noise punk—was pretty much a chore to listen to two minutes into the first song, and it didn’t get any better. –Jimmy Alvarado (Rodent Popsicle)

Sink, Florida, Sink b/w Unsubstantiated Rumors: 7"
For the fans: two alternate versions of songs from the Fat full-length. For the collectors: the cover is a die-cut demented piece of work. Imagine if you will: Gingerbread Man 1 appears to be hugging his counterpart, Gingerbread Man 2. As you begin to open the cover to get at the music, you see that GM 1 has actually punctured GM 2's stomach and that because of your meddling, his hand is prematurely pulled back revealing the large wound. As you open the cover further, GM 1's hand is released (you can see the 7" at this point) and out of the gaping hole of GM 2's stomach spews his candy guts, all over the place in a rainbow upheaval of epic piñata proportions. Fuck yeah. –Mr. Z (No Idea)

Searching for a Former Clarity: CD
Against Me! has done it again! A fifty state tour, acoustic freebies and a brand new album to delight and entertain the masses. They definitely broke their mold on Searching for a Former Clarity. It is not an album that can be compared to either Reinventing or Eternal Cowboy. It's a new day, friends, and the boys of Against Me! are really working hard to keep things fresh. Let's start with the introductory song, “Miami,” a raucous sing-along devoid of bullshit. It's best to listen to it with a bunch of drunken punks that hate their neighbors. A well-crafted and well-played song that again is just plain fun to sing! I've never even been to Miami but it's like I know exactly how they feel. Track three gives AM! a chance to take a shot at everything from corporate whores to the military. Good song, but way too short. Track five, “From Her Lips to God's Ears:” I absolutely hate Condolezza Rice and this song just solidifies that fact. Track six, “Violence,” slows the pace of the album just enough to let you catch your breath for the remaining eight songs. Beautifully sung and very reminiscent of older AM! I wish it were acoustic, though. Jumping to track eight, “How Low” is a powerful song that touches even the most hardcore. Who hasn't asked themselves, “How low can I go?” I love Cassidy Rist on this track; she compliments Tom's voice so well, like two lovers discussing their future. Track eleven has by far the most morality to it. The boys from Against Me! give the audience a rare look into the rigors of touring, the pressure to perform and the industry's effect on real artists who love the craft but not so much the politics. Tears formed when I heard this song for the first time. The music, the vocals and the overall feeling of this song is heartbreaking, very similar to “Pints of Guinness.” This is definitely one of my all time favorites. Track thirteen, “Don't Lose Touch," reels you back into singing loudly with a catchy, hook-laden song that deserves top decibel car play and all the radio time it can get. It's a candy version of Against Me! that can be spoon-fed to the unenlightened. Not taking away from Tom Gabel or any of the guys from AM!, but this is a song that appeals to a broader spectrum of listeners and hopefully with encourage them to pick up the album and explore the wonderful world that is Against Me! –Guest Contributor (Fat)

Americans Abroad!!! Against Me!!! Live in London!!!: CD
So, it doesn’t take a rocket scientist to know that this is a live recording. Right? Up front and center stage, I will confess that I am no authority on this band. I’m one of those people who can casually listen to them here and there, but I do not go out of my way to listen to them or own anything by them. Just not my thing. I respect what they do—maybe not their major label signing. I think with their sound, they are not as destined as, say, AFI and even Rise Against, who have a lot more crossover appeal to the masses. But, I do want to rant about Pat Graham. Who? He is the photographer for the booklet of the CD. It’s basically a photo zine of AM! or a coffee table book for gnomes. His photography reminds me a lot of Razorcake’s Dan Monick by taking pictures of things in an environment where others around you won’t normally notice or even find interesting. Also, a lot of photographers have jumped on the blurring of images bandwagon when it comes to live band shots. There is too much of it out there, and I’m not moved by a lot of them, but Pat does it well. He adds additional feeling to pictures that otherwise might come off as bland. All the photos are printed in black and white; I love that. I think it best represents punk rock music and really captures the emotion better than color. So, I may have not been excited about the music. But they have enough fans out there. Kudos to them for using the photographs they chose for this release. –Donofthedead (Fat)

Americans Abroad!!! Against Me!!! Live in London!!!: CD
Against Me! tears it up for appreciative Britons, proving that some things are universal. The lyrics of the new song “Americans Abroad” self-consciously ponders their identity as conquerors overseas, but the distinctly American bravado of the bass line almost gives them away. Hear Tom address the crowd with the utmost courtesy. Take note of James’s lusty accompanying vocals, which are so much more distinctly his own live. Most importantly, prime that fist and get ready for the next time they come to town. –Susan Chung (Fat )

Searching for a Former Clarity: CD
This band has not been my cup of tea, but I do not discount their music. I never put in a lot of time to get into their music. Not to disregard my opinions, other staffers at Razorcake are fans and put in more listening time than I ever have. I was really impressed with their DVD, We’re Not Coming Home. I really got a good charge watching that DVD and appreciated their efforts more. But this release shows a lot of maturity. The band seems to have pushed past what was preconceived as their sound and looked for more challenges. The opening track’s vibe reminded me of a cross of the Pogues meets Tom Waits. On others, I got the same feeling of musical challenge as if listening to Fugazi. I might get ripped for this, but I hear things on this release that could even be compared to Franz Ferdinand. So for me, I’m pretty intrigued by this one. It now goes into the car and into heavy rotation to see if I become one of the converted. –Donofthedead (Fat)

Searching for a Former Clarity: CD
Todd and I decided we wouldn’t form an opinion on this for a week. We played it at HQ every day, and did quite a bit of talking over it. I was impressed that they tackled the issues that they were going through as they were becoming a more successful band. That sounds awful when I read it, but here’s my thinking: there have been a lot of bands who start to become successful, get kind of freaked out about it, and don’t address it. Hot Water Music has been brought up along these lines a lot in our discussions. I think that for Against Me! to actually write about what they’re going through as far as growing pains, feeling compromised, and questioning themselves is highly commendable. The willingness to be that honest with what they’re going through, and to knowingly open themselves to what I’m assuming is going to be a lot of criticism takes a courage that most people just don’t have. For that, I’m really proud of them. At the beginning of the week, I wasn’t sure how I felt about the music. On the whole, it isn’t nearly as instantly catchy as their previous releases. They put “Problems” on there, which has been one of my favorite live songs for some time now, and “Condaleeza” kept getting stuck in my head. By the end of the week I liked it. I really liked it a lot. It grows on you a bit slower than the rest, but once it takes hold, there’s no shaking it. I know there’s going to be nay-sayers, but I, for one, still have my tent spikes planted firmly in the supportive camp. –Megan Pants (Fat)

New Wave: CD
If a formerly independent-label band drops a record and it’s paid for by a major, does the band still make the same sound? Does superstar production and the loosened grip of financial fear change things? I’ve had to ask myself this question over and over since Bad Religion signed to Atlantic along with the plethora of other punk bands that went with the majors in the 1990s. At the time it broke my heart, but some bands have a credibility that can still exist if the listener holds the highest optimism for a band’s decisions, and Bad Religion eventually won me back. The same principle applies here along with another I’ve picked up on, which is that I can never know if I’m going to end up liking an album on the first try. Largely unimpressed by the opening title track here (our first taste of the “new” Against Me!), the next track “Up the Cuts” draws me right back in. I can do without the buhbupbuhs of the otherwise lyrically gritty “Thrash Unreal,” but “Piss and Vinegar” is still damned good and convincing. Against Me! have been pissing people off with the progression of their sound as far back as Eternal Cowboy on Fat Wreck Chords, and I freakin’ love that album. They have always created songs with a diverse range of sound. I know they can’t all be “You Look Like I Need A Drink” or even “Those Anarcho Punks Are Mysterious…”, but any band that can write songs like those gets my continued patience as we all wait to see what happens next. –Susan Chung (Sire)

As the Eternal Cowboy: CD
I’m probably the only person I know who didn’t go completely apeshit over this band’s first record. Don’t get me wrong, I like it and everything. It’s just that every time I’d listen to it, I’d think of something else that I’d rather listen to, like Sockeye. I didn’t have any expectations for this album, but it really caught me off guard. The drumming sounds a lot better than their first album, the singing is much more tuneful, and the guitar sounds, surprisingly enough, like it came off an early Cure album. Granted, I think the last two songs on this album completely suck, but the other nine songs are pretty fucking awesome, so I guess I’m converted. –Not Josh –Guest Contributor (Fat)

As the Eternal Cowboy: CD
I’m poorly ripping off Replay Dave (Grabass Charlestons) right here. We talked about this album at length. This is, secretly, Against Me!s third album. Zig and zag as you may, there are certain inevitable mistakes on a band’s second album. Everything from growing self-consciousness, “improved” playing technique, and the availability of a better studio can distract bands (“What does that knob do?” “Can we do solos?” “You got a theramin?”), especially if the bands had a modicum of success with their first full-length. (Against Me! had, well, much more than a modicum.) I’m not suggesting that there’s a wholly unreleased, in-the-vaults Against Me! album, I’m just floored at how much different yet the same this album is compared to Reinventing Axl Rose. The mistakes I’m so used to hearing in sophomore jinx albums just aren’t there. Here’s the unmolested template for Against Me! Acoustics are the core, wrapped around voices, strings, and poundables. Basically, what could be done at a punk barbecue, all revved up and written impeccably. Anthems that you’re not ashamed to sing, that sort of thing. Differences: overt politics are redirected to powerful personal policies and inflection. Rally cries seem to be coming from the inside, not just part of a small group. There’s a lot more singing on the Eternal Cowboy. Fuckin’-a Tom and Andrew can sing and I’m glad they’re given more of a chance. There are a lot of subtle differences in the music, too. Although there’s been some minor backlash with Against Me!, This Bike Is a Pipebomb, and the Hair Beard Combo as being jamboree punk, picking up the Young Pioneers banner that some wish would have remained buried, I just hear a great band, not afraid to listen to a broad swath of music. They let it ripple the waters just a little bit. In the corners, of all things, in the guitars I hear early ‘80s underground pop, especially the Cure. Hats off. –Todd Taylor (Fat)

Reinventing Axl Rose: CD

From the opening riff, when the ghosts of “Folsom Prison Blues” segue into a mid-tempo hardcore songs, it’s clear that this is not an ordinary album. Comparisons are hard to make. Sure, there are elements of folk guitar, but this is no Pogues rip-off. Sure, you can tell the singer has spent years singing along with Fugazi, but this is no emo record. Sure, the Clash drips off the edges of this CD, but that’s not what defines these songs. No matter what point of reference I try to launch from to describe this album – from “a hillbilly Husker Du” to “the black bloc throwing bricks through a Replacements record” – it all seems to fall short. And that’s a good thing. Considering how much new music I listen to, I’m amazed that I can hear something that’s this original and that’s this good. The songs are all well-written with thoughtful lyrics, catchy hooks, vocals that are tuneful even when the singer’s voice is ripped through to the chords, and a really happy guitar and a bouncing rhythm section backs it all up. I guess the best way to describe this album is this: these are the campfire songs I want to sing while the society around me burns itself to the ground.

–Sean Carswell (No Idea)

The Disco Before the Breakdown: EP (CD and 7")
I wasn't going to review this for stacks full of bias, but someone just asked me to tell them about the new Against Me! EP, and I figured that since I am writing this anyway... I like it a lot. Not quite as punk or sing-along as the last two releases, but that's not BAD. Tom from Against Me! told me that the 7" is better than the CD version. I like the cover photo because it had the guitar player, James, looking completely filled with passion, with the arm of some random crowd member leaning against him. Songs are as such: “Disco Before the Breakdown” – a beautiful, elaborate song about sexuality. Subtle message against homophobia. The horns... I have mixed feelings on. “Tonight We Are Going to Give it 35%” – God DAMN. My best friend and I had been having a breakdown in communication after a bad point in her life and she referred to these lyrics as exactly what she would have liked to have said. (Oddly, she and I toured with Against Me! just before this was recorded.) Blends Tom screaming his throat out with James singing and playing angelic melodies in the background. “Beginning in An Ending” – is a poignant, simple song that grows like a collage of unrelated material that somehow works together perfectly. Of course, go figure the song that has lines about reading my zines in it. (Seriously.) –rich (No Idea)

The Original Cowboy: CD
The question isn’t whether or not this is a good album. I liked As the Eternal Cowboy just fine when it came out back in 2003. It was catchy and it seemed like they were singing about important stuff like being passionate and shit. The question with me is whether The Original Cowboy is really necessary. The deal with this CD is that it’s the release of the demo tracks the band made for As the Eternal Cowboy, but I can’t really tell the difference at all. The sound quality isn’t noticeably different, there weren’t really any major changes in the lyrics or song structures between the demos and finished product, and it’s not all that sloppier or tighter than what the band eventually put down for the finished album. Don’t lose any sleep about not getting this if you already own As the Eternal Cowboy, unless you’re an Against Me! completist. This feels like bonus tracks in search of a deluxe reissue. If you’re new to Against Me!, this album wouldn’t be a bad first pick to be introduced with, though, as it’s basically As the Eternal Cowboy with different packaging. –Adrian (Fat)

The Original Cowboy: CD
There are people who absolutely love this band. I’m a guy that gets hot and cold depending on the mood. I was intrigued that this was in my inbox at HQ. They went major label, didn’t they? Haven’t really kept up since they left Fat. I look at the cover and see that Fat has indeed released this. Did they get dropped? Not that I can tell. I took a look at the promo attachment and saw that these songs are the demo recordings for As the Eternal Cowboy. I never heard that release, so I can’t make comparisons. What I can comment on is that they do make good music that is challenging and, at times, anthemic. Surprised that these versions of the songs weren’t used for the record. They have no elements of sounding like they are demos. –Donofthedead (Fat)

Transgender Dysphoria Blues: LP
On New Year’s Eve I showed up to a party my boyfriend at the time was reluctantly throwing. I walked in to find a fog machine raging as hard as the guests and upping the ante on the dense pea soup already outside. Between that and wisps of cigarettes, I saw him dancing in the soft glow while the little black dress he was in struggled to catch up with his moves. “Are you freaked out that I’m wearing a dress?” he asked. “No. Are you freaked out that I’m not?” was my response and he proudly went back to being unabashedly himself. Laura Jane Grace and crew are doing the same thing on this new record, only they’re not asking anymore. Against Me! are taking the piss out of gender roles and quickly show you what it’s like to have to live day to day as someone you’re not. This album aims to get under your skin no matter where you stand on trans-acceptance. With lyrics like “They just see a faggot / They hold their breath not to get the sick,” hopefully you feel as dehumanized and fed up as she does. “Drinking with the Jocks” is the angriest track and the shortest—very straight and to the point. It is the perfect coming out song: abrasive to those who don’t understand and appealing to anyone who’s been fucked with for being who they are. To me, that’s as punk rock as it gets. Quite a few friends I know through music have come out as transgender in the last year and their actions are creating a positive shift in those around them. Musically, this record is their best since Against Me! as the Eternal Cowboy and almost makes up for White Crosses and New Wave. And for those who’ve been wondering, her voice hasn’t changed; it’s only gotten stronger and lent itself to many of us struggling with identity.  –Kayla Greet (Total Treble)

Motor City Speed Rock: 10”
I will give this band credit for something: everything from the title of this record to the artwork gives an idea of exactly what they sound like. I was expecting a combination of Zeke-style speed and Hellacopters-style Scandi rock riffing. That is precisely what Against the Grain offer up. It is basically the style that labels like White Jazz and even Sub Pop were flooding the market with at the turn of the century: garage punk played at hardcore tempos. This band is as good as most but I have been burned out on this style for a decade and a half and am not likely to come back around. Fans of Gluecifer, Peepshows, Adam West, Puffball, and Roadsaw will want to be all over this Detroit band.  –Mike Frame (Self Destructo)

A Few Notes on Darwin: CD
Sometimes, you just need some goofy, down and dirty rock and roll to get through the day. The Againsters are more than able to fill that prescription. I find that the majority of the bands out there doing the whole Dead Boys/New York Dolls thing right now are quite boring. These guys escape the trap and keep it interesting with humor and catchy tunes. We’re not talking about the reinvention of the wheel or anything, but my foot is tapping. –Ty Stranglehold (F.I.M.P.)

Marrow of the Spirit: CD
I’ve known about Agalloch, the Portland, Oregon based black metal band, for a number of years. I worked with a guy in Seattle who is good friends with them, but beyond the name I didn’t really know much of them. I passed them over as just being another dumb black metal band that was “extreme” but lacking any real musical substance. And now I would like to eat my words, as I was severely wrong. What I have come to realize is that Agalloch is a complex four piece that is crafting way more than just some stereotypically evil-sounding music. The six songs that comprise Marrow of the Spirit are rich and diverse, especially if you come into this thinking (as I did) that you’re only going to hear some growling vocals and heavy guitars. What the sixty-five minutes of music on this album proves is that Agalloch has a depth to them that is lacking in so many metal bands. They’re not afraid of being creative and plumbing a range of sources to make for music that is able to touch a deeper, emotional chord that you’d expect to be hit when you listen to Sigur Rós or something more cold, atmospheric, and dark. While many fans of metal will no doubt hear strains of Isis’s later work in Marrow of the Spirit, Agalloch offers a wider array of sound than just heavy music mixed with a contrasting growling and singing vocals. There is a good dose of cello, neo-folk guitar work, and crystalline keyboards alongside blast beats and sinister vocals similar to such an act as Gorgoroth. It makes for compelling listening that often crosses the line into beautiful. Songs clocking in at twelve or seventeen minutes don’t drag whatsoever. Instead, they’re part of a skillful arrangement of ethereal beauty. It’s akin to that feeling one gets when they find themselves in a cold, snowy field and the sky stands grey. It’s not oppressive or depressing; rather it’s a capturing of the notion of environment that makes Marrow of the Spirit stand as remarkable in its delivery. –Kurt Morris (profoundlorerecords.com)

Self-titled: CDEP
As simply as I can put it, this is electronic, industrial dance music. Now let's bring out those glow sticks and shake that booty like a tail feather! –Donofthedead (www.agape-technology.com)

Self-titled: CDEP
These guys serve up equal parts grindcore and dancey techno stuff, usually within the same song, but neither part is exciting enough to warrant further investigation. –Jimmy Alvarado (www.agape-technology.com)

Promo: CDEP-R
I got excited when I opened this one because I thought it was going to be Seattle queercore band Agatha. What a difference a letter makes. Imagine if Agnostic Front and Coliseum were roommates and the apartment always smelled like sweat and dank nugs. This is the sonic equivalent of that. It works, though, kinda like a pit bull St. Bernard mix, that is to say loud and heavy. There are only three tracks on here. I hope to hear more from these guys.  –Lisa Weiss (Agata Industries, agataindustries.bandcamp.com)

Panic Attack: Cassette
Definite Olympia sound from the 1990s. Take some Bikini Kill, throw in some Sin 34, and you sort of get what this sounds like. Raw punk that refuses to be a pose. There’s a message in the lyrics and it’s delivered with convincing anger and insight. My favorite song of the seven is “Buying Time.” The music is urgent and the lyrics are great, with lines like; “Let us learn from our parent’s past / Put time in our communities, not in our shopping bags,” and “I’ve never had a picket fence, and I don’t want a cul-de-sac!” I’m a middle-aged old bastard, and lyrics like this still ring true! –Matt Average (agatha206@yahoo.com)

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