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 #82 Now Available | Baby J, (Can Of Beans, Stoned At Heart)
· 3:#336 with Marty Ploy
· 4:Tom Neely and Keenan Keller Interview
· 5:#335 with Bryan Static

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

Big Crux, Ponchito LP
Razorcake #82
Hurula, Vi ar manniskorna vara foraldrar varnade oss for LP
Razorcake #81
Razorcake Ouija Slip Mat

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.

Imprint Indie Printing

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 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66

| 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

Ladies, Women, and Girls: CD
It's about time I got this record! I waited seven years for Bratmobile to put out a new record and it took me over a year to finally buy it. OK, so it came out last year, but I have a tight budget and I want to review it, damnit! This album is great. At first it was kinda weird for me. I felt like, rather than being one big group of riot grrrls hangin' out, it's now more like hangin' out in your room while eavesdropping on your older sisters hanging out and being riot grrrls. On second listen, I was right back on my feet jumping up and down like a pigtailed 15yr. old. Bratmobile has kinda - not so much matured - as they did fill out into their womanly shape and sound. I could safely say they sound a little more Lookout recordsy, but the combination has proved itself to be rewarding. Thank you Bratmobile for coming back and giving me a voice to listen to. I missed you. –Guest Contributor (Lookout!)

Valley of the Brats: CDR
Not to be confused with East LA punk legends the Brat or Corona, California’s ‘90s gloomy glam-punk sensations the Brats, these guys play ‘70s New York-inspired rock punk, that, while pretty faithfully executed, failed to raise much of a ruckus in these parts. In short, they’re not bad, but they’re not exactly the bee’s knees, either. –Jimmy Alvarado (http://committed.to/thebrats)

Be a Man: 7”
HoZac dusts off another oldie and gives it a proper second spin, in this case a 1974 single by a band formed by guitarist Ricky Rivets after leaving the band which soon after became the New York Dolls. His association with that band is in full evidence via the up-tempo title track, which drips with the same swagger and attitude the Dolls utilized with devastating effect, and was also put to good use later by Rip Off Records house band The Infections on their Kill album. The flip, “Quaalude Queen,” is a bit slower, but still has its tail feathers wagging. Definitely worth picking up.  –Jimmy Alvarado (HoZac, hozacrecords.com)

Stay Busy: CD-R
Braver is from Minneapolis, but don’t make any assumptions. They’re far less gruff and world-worn than many of their comrades. The lyrics are filled with question marks, as if they’re at a tipping point, one winter away from a worldview shift for the worse… or better. There’s hope in questions. When the questions stop and the answers come, that’s when things falter. These guys have the right attitude though. As the lyrics go in the standout track, “All My Friends”: “I’ll never see it all.” –MP Johnson (braver1.bandcamp.com)

Stay Busy: LP
Braver is a very tight pop punk band but the singer’s voice wears on me. I tried and tried to like it. I even respect it for not going the poppy, whiny, lovable route of The Lillingtons and Screeching Weasel before them. In the end, this album just does not come together for me. –John Mule (Lost Cat / Pogo Party)

That’s the Hot Part: CD
Lame, boring college rock. –Jimmy Alvarado (Arms Reach)

Never Kill Yourself: CD
This band has already broken up, but they left behind a few EPs. This is their first one and it’s a pretty good collection of mid-paced punk that isn’t going to set the world on fire, but it still has enough energy and fun going on to keep your interest. The four songs go by fairly quickly and are bouncy enough to get you moving in your chair. They showed a lot of potential in their playing and lyrics. It’s a shame that they didn’t stick around to progress. –Rick Ecker (Secrets Of Sounds, link2wales.co.uk)

Dracula: CD
This is one of a kind. The press release that came with the disc is worthy of its own review, particularly its picture of Bray looking like a 1986-era sitcom version of a rock star. You know, the episodes where the teenage girl puts on makeup, sneaks out to the city with her friends, and goes backstage at a concert, only to learn some valuable lesson? Bray looks like the fake rocker they meet backstage, except with slightly smaller hair. Not only that, but there’s a quote from him that says, “I prefer playing after hours. At night we become what we fantasize about.” Yeah, cheesy as fuck. Was that from Growing Pains or Who’s the Boss? I can’t recall. Just so you know, the music is right in line with the press release. It’s ridiculous. The lyrics are about Dracula and include clever bits like “You can run, but you can’t hide. If you scream, I will find you.” Also, “Can’t wait to sink my teeth into you.” All of these words are sung in a sort of breathy whisper and backed by Dr. Fink, who, according to the press release, played keyboard for Prince. Oh, just to make this more ridiculous, this is a CD single with only one song on it. –MP Johnson (Talking House)

self-titled: CD-R EP
I unexpectedly received this homemade musically diverse disc in the mail today from many miles across the vast, tempestuous Atlantic Ocean (from London of England, to be exact!). So I hurriedly rushed home and excitedly plopped this auditory delight into my CD changer. Boy, were my ears pleasantly surprised by the sheer varying magnitude of the mentally deranged sounds the Brazen Hussies spastically spew forth! The first and last songs sound like a mellow, laid-back cross-pollination of the wry sonic commentary of The Kinks during the late ‘60s and the crazed, psychotic acoustic ramblings of “Madcap Laughs”-era Syd Barrett. The remaining three tracks are loopy, funky, trippy, psychedelic, experimental, and undeniably British with a grungy scattering of Black Sabbath-style riffage tossed into the mix. And throughout it all, I definitely detect hardy hints of The Pixies, Nine Inch Nails, Butthole Surfers, and Joan Of Arc vivaciously blended with a circus-like swirl of old-time dance-hall liveliness and ‘70s-style blaxploitation soul-sister choral harmonies. Hell yeh, this is one of the most eclectic and intriguing aural treats that’s ever salaciously serviced my ears. –Roger Moser, Jr. –Guest Contributor (Brazen Hussies)

Dasein: CD

I really like Brazil. I think Terry Gilliam… oh wait, this isn’t the movie. This sounds like the bastard child of Jethro Tull, rap metal, and really sucky robots. That’s not good.


–Megan Pants (Fearless)

Godbox: CDEP
I remember reviewing this band around 1998. From what I remember, this band is from Sweden. I could be wrong. I dug out the previous release and it was titled It’s Me God. No lyrics are included with this release or the previous. The scary part is "God" is included in both the titles. Like the previous, it's a heavy worship of Helmet with screamed, throaty vocals. Kind of emo-violence like with din-like tones of bottom heavy rhythms that are controlled yet abstract. This recording was done during rehearsals and not in a proper studio setting. It has a raw edge feel. Happens to fit the mood of my attitude right now. Would hate to find out that this band is religious though.
–Donofthedead (Chrome Saint Magnus)

Long Story Short: CD
I feel like a hack referring to Bread And Bottle as “Chicago punk rock.” Maybe it’s because I’ve only been living here a year, so I really don’t know what that originally meant, and since there such a variety of sounds currently coming out from bands like The Arrivals, Sass Dragons, Tongues, and A/V Murder, that it makes it hard to find anything unifying. But, this has that meat and potatoes feel that I get from Pegboy and Raygun and always associate with Chicago, just with a bit more melody thrown in. It’s catchy as fuck and the dogs I walk are probably sick of me singing the parts of “Roosevelt” I get stuck in my head on a daily basis (though not as sick as I was hearing the Repellents covering it once...yeesh!). They’ve got two of the Brothers Scaccia, who throw loft shows in a city where house shows don’t really exist and put out awesome stuff on Lucky Gator Records (they co-released this with Johann’s Face, run by Marc Ruvalo, whose band Das Kapital shares Ryan Scaccia on bass with Bread And Bottle. Yeah, it sort of feels like San Pedro, and that’s always a good feeling). If you like catchy and fun and dancing and guitar players who spin on one foot and drummer-singers and pretty amazing bass playing, then you should probably buy this and invite me over for a dance party. Well, except I already have it and I’m not too keen on strangers. –Megan Pants (Johann’s Face/Lucky Gator, co-release)

Deep River Day: CD
God bless you, Todd, for sending me something that is so right up my alley right now. I don’t know what has made so many punks set down their guitars and pick up mandolins, banjos, and fiddles, and stop drawing so much from Bad Religion and start listening to Merle Haggard, but I ain’t about to look a gift horse in the mouth. Bread and Roses is right in the thick of this little revolution, playing music that isn’t so much a combination of punk and folk, but rather folk music played with punk attitude and sensibility. And we’re not talking Joan Baez, slow and heartfelt, Kumbaya-hippie-folk: this is foot-stomping, roof-raising, shit-kicking folk, with the feel of Irish drinking songs, bluegrass hoedowns, and mountain string bands in the mix. The overall outcome is a raw and earnest recording of a band I hope to god I get to see live some day. Sarah Shay –Guest Contributor (Fistolo)

Split: 7”
Okay, that’s enough. The bearded, gruff melodic punk stuff can come to an end right now. I like Hot Water Music as much as the next guy, but when I get a split between two clone bands that I can’t even tell apart, that’s where I draw the line. If these bands continue to emote this hard, they’re going to give themselves hernias. Ripping themselves apart inside literally and metaphorically. It’s gonna be gross, so just stop. Everyone stop. –MP Johnson (Underground Communiqué, undercomm.org)

Self-titled: CD
I always appreciate folks out there banging away to make some music, but I was just not into this at all. Uninspired punk in the vein of Social Distortion. Although some songs were better than others, overall, I found it to be pretty dull. Even the artwork was unoriginal—a smiley face (wearing a frown) against a black background, live shot on the back, no lyrics or other artwork save for the smiley face again on the inside (but on a white background this time) with some kind of bullet hole blood smear. Or something. At least one of the singers is really pretty bad, and I like plenty of bad singers. The seven songs on this CD did not hold my interest whatsoever. Branch out, guys. –J. Federico (Dust Waltz)

Win If You Can, Lose If You Must, But Always Break Even!: CD
The gambling motif on the cover of this CD really threw me off here. I associate gambling imagery on records with douchebag bands. (It’s really common in shitty modern hardcore bands.) Luckily, this is not modern hardcore. The Break Evens play Ergs-y pop punk that sticks in your head. There’s even a Link Wray cover. While this isn’t going to win any awards for release of the year, it’s still a lot better than most of the garbage I have to review. Worth checking out. –Ryan Horky (Dust Waltz, myspace.com/thebreakevens)

Three Songs: CD
This is not really hardcore, it’s more like late ‘90s Epitaph generic Pennywise-sounding stuff. The music isn’t really heavy, but there is occasional chugga chugga that might sound a bit more raw live. That still wouldn’t change the fact that the lyrics say very common things phrased in common ways. It was recorded very cleanly, there are guitar leads and all that kind of stuff, but nothing really sounds heavy or, like, you know, hardcore except for the last minute of the last song which is the saving moment for this demo. The vocals are what really don’t do it for me. One moment he sounds like he’s going for the Jello Biafra thing, then its just generic pop punk vocals, then gravelly punk vocals, then hardcore vocals. From song one to three, the vocals go up a notch in terms of what I enjoy. There would still have to be one more notch up in the vocals, then two notches down in the recording quality for me to be truly stoked on this. –Rene Navarro (myspace.com/breakitdownhardcore)

Near Life Experience: CD
It’s not that this predictable, metallic, Fat-styled punk featuring former members of Rise Against and 88 Fingers Louie is bad – it just isn’t interesting. Sure, it’s melodic. Sure, it sounds like No Use For A Name and Lagwagon (so much so that I wondered if Boss had started making a Fat effects stompbox). Sure, it has an At The Gates cover. However, there is very little here to distinguish this album as something new, to fix it at any point in time other than the mid-1990s and at any place other than Southern California. If you’re young and want to reminisce about how mainstream punk sounded ten years ago while still purchasing something new, this album is perfect. If you’re anything like me, you should skip to the next review which, for the record, is exactly what I’m doing. –Puckett (Hopeless)

Split: CD
The Break: Hmm, no. Cock rock (or uplifting metal, you decide) meets hardcore wasn't a good idea with Junkyard. (Shake that hair, Brian Baker, shake it, 'till you forget the words Minor Threat.) The idea hasn't improved with age. This is the second band this rotation that's resurrected something that should remain deader than dirt. Leave the power ballads to Whitesnake. It worked - marginally, but topically - with cocaine and hookers, not why you think war is bad. Let It Burn: Three mid-paced finger snappers that take the catchiness of early CIV, use sharp and clear like broken glass guitars, and a guy who can sing about the noose of nostalgia, straight-up romance, and the love of a specific city, all like his life depends on it. If I could only program the CD to skip the first three songs, a boner'd be popped. –Todd Taylor (Doghouse)

Split: CD
The Break: Decent enough poppy punk rock, although the emo flourishes of the second track made my flesh crawl. Let It Burn: I really liked the music here, rife with just the right balance of pop hooks and hardcore attack, but that slight whine in the singer’s voice and his monotone delivery just grated like nails on a blackboard. A little more vocal melodicism and I would’ve been all over myself praising these muthafuckas. –Jimmy Alvarado (Doghouse)

Walking Out on Love (The Lost Sessions): CD
After the end of The Nerves, Paul Collins and Peter Case started a new outfit. Previously only two songs were ever made available to the masses via a Bomp compilation. Now from the archives comes this thirteen-song release. Only three songs look to repeat from the recent Nerves CD. This sounds like a band trying to find its sound, but it really does not matter since both Paul and Peter are such fantastic songwriters. A revolving door of almost members completes the lineup here. But as quickly as it started, it ended. Case went to start The Plimsouls and the Paul Collins Beat was born. If you like even one song from either outfit, then you need this too. –Sean Koepenick (Alive)

Walking Out on Love (The Lost Sessions): CD
Between the breakup of L.A. power pop legends The Nerves and the formation of their equally legendary bands The Beat (not to be confused with the English Beat) and the Plimsouls, Paul Collins and Peter Case had a band called the Breakaways. Although the group never really quite got off the ground, they did manage to record a few demos of some tunes from the Nerves’ set list and, in the case of the title track, some that would also feature in the Beat’s future set list. These tapes were apparently mislaid for many a moon, but have been rediscovered and released. The sound quality is great considering these are demos and they’re some thirty-odd years old, and the songs, well, we are talking about the dudes responsible for “Rock ’n’ Roll Girl” and “A Million Miles Away,” so of course the tunes are top notch. –Jimmy Alvarado (Alive)

Battle Hymns for an Angry Planet: CD
Mosh metal (from New York, of course) that’s about as groundbreaking and exciting as the last Backstreet Boys record. Guest vocals on one song courtesy of Roger from Agnostic Front. –Jimmy Alvarado (Thorp, PO Box 2007 Upper Darby, PA 19082)

1987 Demo: CD
Late ‘80s NYHC, which means this is metal with a singer who shouts instead of sings. –Jimmy Alvarado (www.blackoutrecords.com)

Battle Hymns For An Angry Planet: CD
Ok, I was given a stack of CDs for a fellow reviewer and myself to review. On my drive to work I threw in each one, gave it a 10 second scan of each song and came up with two out of ten that I could actually review. Now... Breakdown is not a band whose album I would go looking for, nor would I actually buy it. It’s one of those CDs I would borrow indefinitely from someone. I need a reason to listen to this band, i.e. bad day at work, fight with the ol’ man, etc... This band has playing ability, and they probably have something to say, but I can’t find the booklet to read the lyrics. The best thing about this band is the unmistakable late eighties/ early nineties sound they have. Think Billy Milano-ish vocals, the SOD/ MOD “moshing” interludes that flow right into a double time chorus that stops, fades, then whips you right back into the mosh pit. I hear a little Slayer action in the guitar leads, and those big shouting back up vocals, usually consisting of the words like, “WAR,” “HATE,” or “KILL.” If you were a Fender’s Ballroom local and remember the “cross over” era fondly, you’ll probably like this too. –Julia Smut (I Scream Records)

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 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66

| 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


Black and Red Eye

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.