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· 1:Featured Record Reviews From Issue #81
· 2:#327 with Kurt Morris
· 3:Punk Parenthood for the Sleep Deprived
· 4:#328 with Bianca Barragan and Simon Sotelo
· 5:Creepy Emphera #1: Cadaver Synod


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Razorcake #81
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No Idea Records

Record Reviews

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FEEDERZ, THE:
Ever Feel Like Killing Your Boss: CD
Anger can be an amazing source for inspiration. This is classic, long hard-to-find, caustic, dark shit that would do you well to pick up. Spearheaded by the acid-spitting Frank Discussion, The Feederz never took any sides – left or right, right or wrong – except their own. Yet they were super-intelligent and graphically smart about pulling off this musical coup. You’d think that something so nihilistic would immediately implode on itself. Luckily, they recorded a couple albums before that happened (although they’re playing out again). The songs themselves are fantastic and it’s almost impossible to trace how many bands have shamelessly borrowed from The Feederz without giving credit where credit’s due – from the outright intelligent antagonism (rarely duplicated), the guitar strangulation, the absolutely amazing drumming that sets a definite mood and pace, the ability to play a slower song that’s completely frenetic and dizzy, how to make truly moving protest-against-everything music, and the flow of the entire album itself. The Feederz were many things, but they had several recurring themes: anti-capitalism, anti-advertising, anti-submission, and anti-religion. Indispensable jewels are songs like “1984,” which rails against working so someone else can make a buck off of you. (“You go to school for twelve years where you learn just one thing/ How not to mind being bossed.”) In every fold of the CD jacket, Frank suggests you steal this album, to use their artwork, to tape the songs at home. Juxtaposing the CD cover subvertisement of an attractive, busty bandita is the talk bubble, “Vandalism, beautiful as a rock in a cop’s face.” Leaving no big stone unturned and walking away from no fights, they go right for the robe. In “Jesus,” re-named from the original LP’s “Entering from the Rear” – leaves little room for interpretation. (“Jesus entering from the rear/ Fucking you in the ass/ Just another faggot/ In just another mass.”) I’ve always found it more than a little weird that The Feederz didn’t get as popular as, say, Dead Kennedys. Perhaps it’s because they fought with their gloves off and they constantly attacked for exposed, hypocritical throats. Perhaps it was because this album was fucking tough to find for years. The original LP version of Ever Feel… (“Pay no more than $0.00 for this record”) had sandpaper on both sides of the jacket, designed to scuff the records next to it, as a fuck you to record collectors (which backfired, because it’s worth a lot of dough.) All said and done, this is an extremely welcome re-issue that I’ll be playing incessantly. The irony that this is quite possibly more timely than when it was first released doesn’t escape me either. –Todd Taylor (Broken)


FEEDERZ, THE:
Teachers in Space: CD
With a picture of the space shuttle Challenger blowing up, the title doesn’t sound as nicey nice. While not as tickling my punk fancy as their first record, there are more harmonies, less thud, and opens with a Crass-y spoken word over tortured instruments song that isn’t as essential. In other words, a bit more arty, but upon repeated listens, it’s growing on me. It makes me realize how truly funny, diverse, and inventive The Feederz could be away from hardcore. The song titled “Intermission (Time for a Snack)” is just that. Mellow vibes and a ticking clock for a minute and five seconds. Half of “Taking the Night” sounds like a musical. A really good musical that I’d like. About rioting. So, if you see both this and Ever Feel…, get the other, but if you have a choice between this and, say, an emo record, this’ll do your head good. As an added bonus, this also has a long live show video on it (which can’t be played on record players). –Todd Taylor (Broken)


FEEDERZ: Vandalism:
Beautiful as a Rock in a Cop’s Face: CD
The Feederz were a legendary eighties hardcore band. Lead singer Frank Discussion reformed this incarnation of the band, and we’re all better for it. They have a very confrontational approach to punk rock (as you can see in the interview with them, conveniently placed within the pages of this issue of Razorcake), and it’s easy to simply be offended by them. The trick is to go beyond that, to confront the issues that their lyrics force you to confront. This whole approach is what gives the Feederz their edge. But it would be a shame to discount them as just a message put to music. The music itself is solid. It’s hard for me to avoid comparing them to the Dead Kennedys, and not just because Frank Discussion ran off with Jello Biafra’s wife. Because Discussion also ran off with a handful of EastBay Ray-style riffs while he was at it. Apparently, he pocketed some DH Peligro drum sections, too, and put those beats on loan to Feederz’s drummer, Ben Wah. And, from there, they built their own disjointed sound that simultaneously irritates you and makes you enjoy the irritation. If you’ve never heard the Feederz, I recommend starting with Ever Feel Like Killing Your Boss. After that, you’ll just follow the natural progression to pick up this album. If you’re thinking, c’mon, there’s no way the Feederz could be as edgy and relevant as they once were, pick up this album and prove yourself wrong. –Sean Carswell (Broken Rekids)


FEELERS, THE:
Learn to Hate the Feelers: CD
Well, I can’t say that I hate them, but I was definitely disappointed with this full-length. The split with the Blank Its was fantastic and I was really stoked to get this, but I have a feeling that there was a lot of weed involved in the writing process. The two songs on the seven-inch were driving, fast punk rock songs, and the songs on here are more like Devo. I like Devo, but I was expecting something on the level of the Baseball Furies or Sweet JAP, so it kind of threw me for a loop. The reverb on the vocals was pretty annoying, too. Why do bands keep doing that? For the most part, the guy sings kind of like Jay Reatard, with the occasional moment where it sounded like David Yow of The Jesus Lizard. It’s growing on me but not at all what I expected. –Josh (Dead Beat)


FEELERS, THE:
Self-titled: 7”
The Feelers answer the question of, “What happens when a garage punk band is shredded against Negative Approach’s cheese grater, but the Oblivians’ desperate, rickety shack is still jumping in the background?” It’s a broken arm that you can snap your fingers along to. It’s like a chainsaw with a blade that’s teethed with sweet, sweet gumdrops or jackhammers lubricated, not with oil, but maple syrup. The result it fully interlocking parts between two things that aren’t necessarily supposed to go together, and that makes it all the more memorable. Improves on repeated listens, and is much better than the Willy Wonka-ness of the comparisons in this review. Great, fun punk rock. Remember that? Recorded by Alicja Trout (issue #29s cover lady), and she captures them in full stride, fully fanged, broadly smiling. Excellent. –Todd Taylor (Contaminated)


FEELERS, THE:
Children Are Kids Too: 7"
After the “Nothing Always” 45 this is the fifth single from The Feelers by my count, not including the split with the Blank Its and the single on the Killed By Trash comp. They may be reaching the Tyrades territory, a killer collection of 45s and only one full-length. Nothing wrong with that, upping the fetish scale a la The Rip-Offs. This one is for the “2007 European Tour” and continues their KBD sound, but they are as consistently good and fresh as anyone else you wanna name today. Some of their best stuff here. Not to mention, P. Trash is on a roll lately with some sparkling 45s. –Speedway Randy (P. Trash)


FEELERS, THE:
Nothing Always: 7"

The Feelers are like going to a really good show, a strong bill. The first bands are pretty darn good. Good enough to sway along to, not mock, and it’s a pleasant, if not mind-blowing, evening. The bands are as good, or better, than the drinks you’re drinking. Then The Feelers come on, and it’s like someone tripped a booby trap. The chaos is precise, it’s directed right at the audience—all from above, out of nowhere, in an ambush—and all the songs are filled with lethal intent, delivered with certainty of muscle. Even if this 7”s is less vicious than the previous one on Contaminated, holy hell, if it’s not as great and still going directly for all the softest parts of the listeners’ bodies. I’m pleased as punch to find strains of hardcore and non-fancy garage snaking around the same stick again, biting from both sides. Supercharger and The Fix fans, hold hands against the enemy of complacency!

–Todd Taylor (Bachelor)


FEELERS, THE:
Nothing Always: 7"
This band continues to deliver: KBD, tight guitars, strained singing to the point of inventing new melodies, immediate fun. Easily one of the more exciting bands today, as they are just fun, but have a feeling of danger in their sound. Will make girls jump up and down and guys break windows. Anyone out there making a running zombies movie? The Feelers are your soundtrack. –Speedway Randy (Bachelor)


FEELERS, THE:
Fuhrer’s New Miniskirt b/w Special/Next Boy: 7”
Great, raw 1980-style lo-fi punk that makes me think of the Zero Boys, but that’s probably because the Feelers are from Ohio, and I haven’t heard the Zero Boys in a really long time. –Cuss Baxter (Death by Noise)


FEELERS, THE/BLANK ITS:
Split: 7”
Rad split featuring two bands that have generated quite a bit of a buzz in a very short amount of time. The Feelers have me kicking myself for not picking up their earlier 7”. Fast, hard-hitting, guitar-driven punk that sounds like a lost early-‘80s Midwest hardcore band. More evidence that Ohio is an often-overlooked hotbed of rock and roll. Folks who dig the first Baseball Furies album will find much to like here. Vocally, the Blank Its remind me of the guy from Servotron singing underwater. Musically, they play really twisted lo-fi stuff that’s not exactly easy to categorize but would fit in between your A Frames and Spits records. Addictive hooks, too. Pick up a copy quick because these might not be around too long. –Josh (Contaminated)


FEJLFIX:
Ensom Blandt Mennesker: 7"
Eight tracks of ripping Danish hardcore. They keep ‘em coming at ye short, fast, and unrelenting. –Jimmy Alvarado –Jimmy Alvarado (Spaghetti Cassetti, spaghetticassetti.dk)


FELLOW PROJECT:
Where’s the Wire: 10”
Folk punk with a political bent. Fans of This Bike Is A Pipe Bomb and the Plan-It-X crowd will wanna be all over this. Earnest lyrics, solid playing, and heartfelt spirit here, but the tunes don’t really grab me. All you bike punks are gonna love it though. –Mike Frame (Make Or Break)


FELLOW PROJECT:
The Buried Life: CD
Starts off kind of folk-punk but gets more rockin’ as things move along. It’s almost like emo went out and met up with folk-punk and the two have a stellar evening at a low-brow microbrewery swapping stories loaded with ironic humor. Me like more with every listen. –The Lord Kveldulfr (Dead Broke)


FELLOW PROJECT:
Stable Life: LP
There is nothing I can really say negatively about this record other than the fact that I didn’t like it. Every song was screamed with passion and the band was tight, but like a bunch of the other Latterman-style of pop punk bands, I find myself bored quickly. Kind of like how everyone else in the world loves Doctor Who, but I’m too lazy to get into it. –Bryan Static (Answer Key, answerkeyrecords.com)


FELLOW PROJECT / JONESIN:
Split: 7”
It’s kinda funny: I’ve had releases by both of these bands for a long time, but never really listened to either of them. A while back, there was a mishap with an order I did with Dead Broke. When I received my actual order, I got a free Fellow Project CD for the trouble. I never listened to it, thinking that it was something that they just had lying around (I guess that’s just how my mind works). Jonesin did a split with Shang-A-Lang. I listened to the Jonesin side when I got it, noting that it was ex-Down In The Dumps. I recall thinking that it was okay, but much preferring the SAL side—no offense, but they do an awesome fucking Lou Reed song on their side. So this is kind of the first time that I’ve really listened to either band. Fellow Project offer up some poppy, punky post hardcore. Jonesin lay down two tunes in the Tiltwheel via Crimpshrine vein of gruff-voiced dude punk. –Vincent Battilana (Kiss Of Death)


FEMURS, LOS:
Modern Mexico: CD
Before you roll your eyes when I tell you this is a two-man band, lemme just point out that they veer less towards White Stripes-land and more toward the semi-acoustic skiffle-punk of bands like Brent’s TV. The songs are strong and hooky, well executed, and a fun listen, which I’ll admit was a bit of a surprise for me, too. –Jimmy Alvarado (thefemurs@hotmail.com)


FENWICK:
Totally OK: CD
Hailing from the hometown of Jack Kerouac, Fenwick are a three-piece punk rock band. They don’t do anything fancy, preferring to keep it simple and straight forward. That’s the good news. The not so good news is that, largely because of the singer’s lack of range, every song tends to sound exactly the same. If it was a single, I’d probably say it’s a pretty good, Muffs-style, aggressive melodic punk. As an eleven song full-length, it’s repetitive and boring. –brian (My Little Rock Star, www.mylittlerockstar.com)


FERAL BABIES:
Self-titled: Cassette
I like the cut of your jib here, fellas. Awesomely frantic hardcore ala old thrashmeisters like DS-13 or Sugar Pie Koko mad-libbed through seminal ‘80s L.A. punk ala the Adolescents. Solid, grouchy punk that’s gleefully malevolent and snarling in all the right spots—the sonic equivalent to throwing a pair of meerkats in a bathroom and closing the door. Five quick tunes, nice packaging, and I bet they can flatten a goddamn room live. I would love to see this band play someday, and I look forward to hearing whatever they decide to release next. Worth seeking out. –Keith Rosson (Feral Babies, noreprieverecords@gmail.com)


FERAL BABIES:
Self-titled: Cassette
There’s some serious Los Angeles punk/hardcore worship on these five tracks and it’s not just the Weirdos cover. Tapping into the influence of West Coast masterpieces such as the Yes L.A. compilation and the Middle Class’ Out of Vogue EP, Feral Babies are indeed a godsend and the answer to the question: “Why aren’t there any more bands as intense as Street Trash anymore?” Perfection. Go find this! –Juan Espinosa (Self-released)


FERAL BABIES:
Violent Boredom: EP
Pretty good debut EP from this Florida outfit. They play straight-up hardcore punk that has more in common with the past than the present, but doesn’t sound like anyone in particular, which is a rare thing anymore. The only comparison I can make is that the vocalist, Justin Arnold, sometimes sounds like Sam MacPheeters. But that’s it. These guys are their own entity. A little bit fast, a little bit slow. They definitely have more than one color in their pallet. The bass has a beefy sound and you can always hear it snaking around in the music. A crunching guitar is loud in the mix. The drums bring the urgency. I can see songs like “Teenage Extinction” and “Bad Times” going over well at live shows. “Bad Times,” because of the simple and to-the-point lyrics, and “Teenage Extinction,” because of the ending with “All the teenagers are terminal” being repeated over and over. –Matt Average (Rigid)


FERAL BABIES / CHEMICAL ACHE:
Split: 7"
Feral Babies: Their mix of (totally non-obnoxious) rock and hardcore influences makes for some spirited pun rockin’ sans both all the wankery bullshit and macho chest pounding. There’s nods to punkers past buried in there, but none so obvious that yer goin’, “Oh, that’s who they’re aping.” Chemical Ache: More of the same, with maybe a bit more early ‘80s Southern California beach punk in the DNA. Nice work all ‘round. –Jimmy Alvarado (Kiss Of Death)


FERAL FUTURE:
Come Out Swinging: 12” EP
Sounds like some lost artifact from the early ‘90s, a bit like Babes In Toyland. The playing is raw, and there’s a lot of attitude in the vocal delivery as well as the overall execution of the songs. I would imagine their live shows have more energy than the recorded material. This isn’t bad, but it doesn’t really grab ahold of your attention either. “Fughandi” sounds like two songs smashed together, with only one that should have been fleshed out more, and the other allowed to die in the rehearsal room. The ending of the song, where they sing: “You take and take and take...” is good, and I thought it was a new song. The part before that was meh. This record would have been more effective as a single. –Matt Average (Western Medical, westernmeds.com)


FERAL FUTURE:
Haematic: LP
Anger gets me out of the bed in the morning. I’m angry that I have so much unfinished work. I’m angry that my students are neglected by their daytime teachers and their parents, that my dad got laid off after thirty years of loyalty, and that my best friend still has to explain to men and women alike why she is a feminist. If you’re angry, too, then Haematic will be your partner in crime. Put it down on the turntable. Let it bludgeon your cerebellum: you won’t ever be the same. Musical minimalism is tricky, but Feral Future has all of their requisites fulfilled: unharnessed ferocity, self-assured vocals, hard-hitting drums, agitated guitars, and acid-spewing indictments of oppressive bullshit. The record comes with a fold-out poster with a “trigger warning” for those who have suffered “sexual violence, and or, abuse.” Feral Future approaches these topics with as much subtlety as a sledgehammer, but what’s being said is important so it’d be wise to pay attention. “I wanna ruin you, because you’ve ruined me.” This isn’t revenge; it’s justice. “These girls are tougher than your feeble attacks.” This is support, community, and mutual respect. It’s refreshing to hear yelled what often goes unsaid. My highest recommendation.  –Sean Arenas (Western Medical, westernmedicalrecords.com)


FERAL TRASH:
Dead Eyes: 7”

Canada is the place to be, it would seem, or at least it is if you like good music. So much of what I like these days seems to come from north of the U.S.A. border and Feral Trash is no exception. With a no-nonsense and edgy mid-tempo approach, this trio provides four bundles of warm fuzzy goodness, all of which give me the impression of a band midway between Low Culture and Royal Headache.

–Rich Cocksedge (Dirt Cult, dirtcultrecords@gmail.com, dirtcultrecords.com)


FEROX:
Drones: CD
Sounds like Flipper with a drum machine fronted by a way less cool version of Plastik Patrik. Hands up if you got the gay French Canadian roller derby announcer reference!! BEST SONG: “x” BEST SONG TITLE: “x”. FANTASTIC AMAZING TRIVIA FACT: x.  –Rev. Norb (X)


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