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Record Reviews1 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 | 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
CLAIRMEL:
A Letter To Friends: CD
I was first introduced to
Clairmel through the HWM split; Hot Water Music always kicks my ass. Clairmel
quickly set about doing the same thing. I won’t pretend to tell you that this
is unique; if you’re a fan of Gainesville punk rock, you have likely heard this
or something very similar before (likewise, I won’t claim that Clairmel is from
Gainesville; I honestly don’t know where they’re from). The difference between
this collection of previously unreleased tracks and most of the shit (and I do
mean shit) that I review is that whereas most of the shit is impassioned with
little to no effect because it sounds like a bunch of art students in the
middle of nowhere trying to create something to further ostracize themselves
from their surroundings, this sounds like impassioned people trying to connect
with their surroundings. To put it a different way, a lot of the albums I get
sound like they were made by outcasts in high school who decided to
intentionally be weirder so that they could pretend to be cool; this album, in
the analogy, would have been made by the people who simply didn’t give a shit
about cliques or trends and wanted to sit in their garage and make music that
they and their friends could enjoy, music that would provide a sanctuary and a
place where bonds between people could strengthen, if only for a little while.
I freely admit that I was biased in favor of Clairmel when I got this; I’m more
biased in their favor now.
–Puckett (No Idea)
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CLAIRMEL / CEASE:
Split: 7"
Some bands tow along fury. Clairmel is one of them. It’s an unplaceable element, but it drives the songs harder, more true, more directly while establishing new ground musically. Think of a tornado, then the tenderness of the Red Cross. And when they establish a rhythm, they take it down winding, interesting audio roads, which serves the listener from becoming bored or yelling, “Ah ha, you boner. You ripped off ____________ (fill in the blank)” at the turntable. Clairmel’s also one of those bands that are really fucking cool musically, then you read the lyrics, and it gets all the better. (i.e. “I never thought I’d be crawling just to walk on the other knee”). They’re in the same dugout as Tim Version, The Arrivals, Spontaneous Disgust, and Hot Water Music (with whom they shared a split 8”). Honestly delivered vocals, tight and bombastic instruments, emotionally charged, and soaring. Thumbs up. Cease: chonka chonka, pause, pause, growl. It’s silliness by some dudes that play way too much Dungeons and Dragons and rearrange Slayer lyrics like those poetry refrigerator magnets. Lots of screaming about doom and abysses and stuff. I yell, “Ah ha, you boner.” I rip it off the turntable.
–Todd Taylor (Attention Deficit Disorder)
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CLANCY 6 / VINCENT PRICE’S ORPHAN POWERED...:
Split: 7”
One gets the feeling that both of these bands listened to a.) a lot of Charles Bronson or b.) a lot of Spazz . Clancy 6: Yell-core, slaphappy with blast beats, tackling the surgical removal of limbs and the Journal of Modern Medicine, from a “we’re all diseased” perspective. Vincent Price’s Orphan Powered Death Machine is the more inspired of the two. Their vocalists sound like a Mechanized Tweety Bird of Doom getting chased down by the Cookie Monster Vacuum of Death. In perfect Bronsonian form, they have neat and long song titles. I just wish that the title “Dude, You Like ‘Stangs? You Must Have Gasoline in Your Veins” had something to do with the song, as I’d like to hear it. Instead, it’s power-art-violence – i.e. “tongues… licked black milk from luna’s dairy eyes” while bombs go off and musical throats get slit. All in all, both bands know the form well, play fine, but bring very little new to an already very full table.
–Todd Taylor (McCarthyism)
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CLANN ZU:
Rua: CD
Is it bedtime already? Complicated
artsy stuff that has me scrambling for my Raw Power record so I don’t
fall asleep. –Not Josh
–Guest Contributor (G7 Welcoming Committee)
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CLAP:
Have You Reached Yet?: LP
I hated this record the first time I listened to it. Demo-quality recordings that sound too thin, with inconsistent mixing to say the least. On side one, the low end is almost non-existent and the bass is either too blown out or too trebly. Side two is a little more bearable. The singer is a little whiny, but you get used to it (think King Tuff.) On second listening, I was less angered and let myself get into the songs. Many of the leads are discordant and the first song is completely out of tune. The packaging is nice, heavy stock, with detailed, knowledgeable liner notes by Phast Phreddie Patterson (of Back Door Man Magazine).According to Patterson, the original record goes for internet silly prices ranging between a few hundred dollars and $1700. I appreciate the influences more instead of thinking Clap is straight ripping songs off, although the chorus of “Have You Reached Yet” sounds like The Chocolate Watchband’s “Are You Gonna Be There (At the Love-In)?” “Sweet Smell of Success” and “Stop Torturing Me” are mid-paced Stones-y rockers. “My Imagination” might be the best of the bunch.
–Sal Lucci (Sing Sing, singsingrecords.com)
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CLAP, THE:
Don’t Say No: EP
Despite being from the US circa ‘81, they sound more like they were from England ‘78. This EP combines their two singles. Imagine a cross between 999 and The Vibrators. Good, but nothing special.
–Matt Average (Bacchus Archives/Dionysus)
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CLAP, THE:
Don: EP
Despite being from the US circa ‘81, they sound more like they were from England ‘78. This EP combines their two singles. Imagine a cross between 999 and The Vibrators. Good, but nothing special.
–Matt Average (Bacchus Archives/Dionysus)
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CLASS ASSASSINS:
State Of Emergency: CD
This band has the typical TKO sound that I’ve grown used to. Reminds me a bit of The Reducers at times. Except it doesn’t have much to hook me like them. It’s not a terrible album. It’s just not up to par compared to a lot of TKO bands that are soo great. Their best song on this CD can also be heard on the TKO comp, Punch Drunk III. I’d listen to them first before buying the CD.
–Toby Tober (TKO)
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CLASS ASSASSINS, THE:
No Justice… No Peace: 7”
This is European-style streetpunk with a frenetic, melodic edge. It’s a catchy and captivating foot-stompin’ aural romp that includes a rousing upbeat original (“No Justice…”) and an up-tempo punk rock cover of “One Tin Soldier” (the theme song from the classic hippy flick, “Billy Jack”). Indeed, this is a sonically riveting 7" throughout both sides, and I feel wholeheartedly compelled to fervently recommend it to you all. –Roger Moser, Jr.
–Guest Contributor (Insurgence)
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CLASS ASSASSINS, THE:
Self-titled: 7"
I got two releases from my good old buddy Derek, who puts out Soap and Spikes Zine and Records. This is one of them. The Class Assassins are a Toronto, Canada street punk band that he said he liked so much when he saw them live that he decided to put his fortunes in a bind and release their 7". I say good job, well done. These guys can compete and conquer against many of the generic street punk bands that are currently out there. The melodies are there with strong background vocals. The band produces good boot-stomping songs and the singer doesn't sound like he has smoked five packs of cigarettes to have his voice ready to fit a formula. Hope this release brings them attention so they can further reach an audience that surely would appreciate them.
–Donofthedead (Soap and Spikes)
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CLASS ASSASSINS, THE:
You’ve Got It Wrong: CD
Catchy, anthemic punk rock. More often than not, they sound like later Channel 3 with a wee bit more oi in the mix, with sly nods in the guitars to bands like Blitz ‘n’ such.
–Jimmy Alvarado (insurgence.net)
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CLASS OF 1984:
Self-titled: CD
Sometimes you have to go backwards to move forwards. This is surely the case for Victoria B.C.’s Class Of 1984. Playing fast paced skate punk is one thing, but adding the old school flavor really puts the icing on the cake. Being from my town, I know that these guys have been skating and punk rocking in one band or another since about 1984 and their experience shows. Great songs with very Kevin Seconds-esque vocals. I could see myself listening to this when I’m at the skatepark not skating.
–Ty Stranglehold (Bullitt)
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CLASS WAR KIDS:
Reflection! Rage! Rebellion!: CD
Class War Kids is an inspired anarcho pop punk band from Newfoundland, Canada. It’s okay that Propagandhi started to suck because this instant classic easily fills their oversized vegan shoes. Some of the lyrics are embarrassingly trite, such as on the anti-rape song, “Never Her Fault.” But others are gleefully confrontational, even by subculture standards. The boldest song mocks present-day military worship and is called “Fuck the Troops.” Other hits include “Cherry Poppin’ Conservatives,” a track about breaking down sexual orientation barriers. Slightly faster and harder than Propagandhi, but Propagandhi is clearly their main musical influence. Female backing vocals add additional flair to an already amazing mix. I bet all of their PC goofiness is merely a ruse to get laid, but as long as they keep making killer records, let these geeks have their fun.
–Art Ettinger (Rebel Time)
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CLASS WAR KIDS, THE:
A Strong People Need No Leader: CD
Paint-by-numbers poppy nouveau punk. The lyrics are admittedly a wee bit more substantive than most others hawking similar wares, but when all is said and done, they fit in a little too well with the rest of the bands that crowd Warped Tour lineups.
–Jimmy Alvarado (www.turnerstavern.com)
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CLASSICAL ASS:
After Lunch We Kill Tony: CD
Some really good, arty punk along the lines of Ex-Models or even Le Shok. Songs are short on pretentiousness, meaning they can make a mean racket without boring you to death in the process.
–Jimmy Alvarado (Diaphragm)
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CLAW TOE:
Ingrown Ego: 7”
Interesting. Deep, deep bass on the title track with guitar playing that rings out—not chords, just notes that shimmer a la Keith Levene. Definitely influenced by Pere Ubu and Metal Box. Lo-fi as hell with ominous sing-speak vocals. Sounds like doom or a more realized version of Catholic Discipline. The guitar playing on both sides of this 45 is formidable. Definitely would be into hearing more, pending no further releases have a swastika on the cover. (I was always somewhat conflicted with the Electric Eels over this tactic. It didn’t infuriate me so much as it seemed like a dumb misappropriation. Their music was grating and brilliant enough…) As for this 7”, it’s impressive. Glad someone has the nerve to put this type of music out on vinyl.
–Ryan Leach (Criminal IQ, criminaliq.com)
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CLAW TOE:
Self-titled: 12” EP
Claw Toe bring quite a mixed bag of influences to the party, ranging from the all-out weirdness of Mr. Bungle, the more bitter-sounding moments of Nomeansno, and King Missile’s whimsical approach to lyrics. It’s not easily digestible, that’s for sure. The finer moments pressed onto this wax include the opener/stomper “Another Saturday Night,” the disturbingly funny “Geriatric Stalker,” and a cover of the Functional Blackouts’ “Kamikaze.” Try and imagine if Flipper and Throbbing Gristle combined forces and you’ll have a pretty good idea of whether you’d be interested in this or not.
–Juan Espinosa (Criminal IQ, no address)
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CLEAN, THE:
Oddities: 2 x LP
One of those times where I came upon some gold in the review box here at the Razorcake bunker. I’m thumbing through, picking out stuff to review, and I see this gem. Thought for a couple minutes Alan Funt might come out and tell me I was on Candid Camera or something. Grabbed this, and soon as I came home, put it on the stereo and was blown away. Originally released on cassette in 1982, and now on vinyl in 2012 via 540 Records. This stuff is B-sides and other odds and ends recorded between 1980 and ‘82. The sound quality is not that rough when you think about where it came from and what it is. Stuff like “Thumbs Off” and “Getting Older” is classic. “Mudchucker Blues” pre-dates bands Pussy Galore and Jon Spencer Blues Explosion and comes out of left field in comparison to the more poppy flavored songs here. Some of the material towards the end is more fragmented and sounds like they were working out some ideas. However, it’s all worth spending many afternoons with. Packaged in a gatefold cover, with flyer art on the inside. A must-have for purveyors of fine music.
–Matt Average (540, timmy@chaosintejas.com, chaosintejas.com/540/index)
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CLEAN-CUTS, THE:
Do-the-Pop: 7” EP
This EP is four simple pop tunes and that’s a bad thing. It’s pop in the fact it would appeal to the masses. You could throw this record on and listen to it with your grandma with, perhaps, the song “Anxiety” being a tad edgy. Everything here lacks dynamics and pulses at the mid tempo range. It’s disappointing because they have distorted guitars, hooks, and yet nothing exciting to keep the music interesting.
–N.L. Dewart (No Front Teeth)
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CLEATUS:
Snatching Defeat from the Jaws of Victory: CDEP
Generic as hell “pop punk.” When will it end?
–Matt Average (Firefly Recordings)
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CLENCHED FIST:
Welcome to Memphis: CD
More thick-necked jocks who think “hardcore” is a term interchangeable with “lame-assed, big-muscled, small-dick macho metal”? Or, as they say in the motherland, this is absolute mierda.
–Jimmy Alvarado (Thorp)
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CLERGY, THE:
All Who Fly: CD
Took a look at the band bio on the label’s website to get a clearer understanding of where these guys are coming from, given their lyrical content. There’s lots of talk about how they’re “filled with driving rhythms and swells of distortion which build and climax into beautiful and complex layers of sound completed in perfection with emotive, sometimes gritty, punk-influenced female vocals.” What they don’t tell you is that virtually every song on here is in some way or another praising the might, power, and majesty of Jesus Christ. This, of course, means this is about as “punk,” “alternative” and edgy as an Amy Grant record. Peddle your brainwashin’ wares elsewhere, Jesus freaks.
–Jimmy Alvarado (Boot to Head)
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CLEVELAND BOUND DEATH SENTENCE:
Gateway Handshake: 7"
Oh, don’t get me wrong, I like this 7”, but my pants and socks are still on after playing it. The first time I heard CBDS, they made me want to run around in half-naked pop punk celebration. It wasn’t only the ingredients (Paddy of Dillinger Four, Aaron Cometbus of Scooby Don’t, Emily of the Saltines, and pre-jailed Spitball of Oswald Armageddon), but the jaunty mix of these undeniably talented folks. It was four superballs bouncing around in this barely contained chaotic harmony that made me scream stuff like “fruit and vegetable stand!” and read up on foreign dictators. Gateway Handshake has the familiarity of a faded shirt, but the firecrackers don’t seem to be in the back pocket. Although good—and it comes with a killer children’s-book-for-adults lyric insert—it felt like four people getting together and playing out of some sort of obligation, or “Here, you play this part… no, do it like this,” instead of fun, spontaneity, and inspiration through and through.
–Todd Taylor (No Idea)
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CLIMAX:
No Time for Heroes: 7"
Hardcore spikes and leather punk from the CzechRepublic. Driving beat with lots of gang vocal choruses and breakdowns. I still stand by my statement that this type of punk sounds that much better when sung in languages other than English. Climax goes the extra mile, and provides an English translation of their lyrics on the inner sleeve for those of us who don’t speak the language. I appreciate that. Good record. –Ty Stranglehold
–Ty Stranglehold (Voltage, voltage-shop.com, info@voltage-shop.com)
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CLINT MAUL:
Ninguna Amplificacion!: 7”
I have no idea who this Clint Maul person is, but I likey...a lot. It didn’t take but five notes for me to decide so. Music is country-like with such pleasant vocals and charming harmonica tunes that I found myself flipping this record three times before retiring it. It made it into the pile of records that are in regular rotation at my house. It’s mellow, yet light and uplifting and puts me in a really good mood. My only beef with the record is that it doesn’t have more than three songs and I wish it had more. Also, it doesn’t include the lyrics in the insert, but really I don’t even give a care because the lyrics are already so clear and simple. Oh man, I just looked up his myspace page. He’s from Virginia, apparently. That explains the influence. If you’re into Lucero, Chuck Ragan, or throwing horseshoes on a summer evening after floatin’ the river, you will probably find easy listening in this record.
–Guest Contributor (Toxic Pop)
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