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· 1:Punk Parenthood for the Sleep Deprived
· 2:#330 with Craven Rock
· 3:One Punk’s Guide to Poetry
· 4:#331 with Mike Faloon and Todd Taylor
· 5:#332 with Kurt Morris


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Razorcake #81
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Nights and Days in a Dark Carnival by Craven Rock
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Record Reviews

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OLD GROWTH:
Out of the Sand and into the Streets: LP
To be honest, this record didn’t move me even though I think it is pretty good. That’s not to say that its sentiments, rhythms, and tonalities are not for anyone, I simply did not find my pulse to be altered drastically when spinning this record. Having said that, for those who are into the punk-influenced proto-grunge of Mudhoney, or Neil Young’s Reactor, this record could be a welcome appearance in your life. Bass-heavy guitars, minor phrasings, tribal drums, simple mournful guitar solos, and melodic and yearning vocals—which recall traditional folk songs—bring this record to life. Whether it’s a reference to an economic system rife with inequity, or simply the cry of a struggling artist in the clutches of a capitalist world, I did find my heart quickening to the repeated lyric that comes later in the record: “where’s the money gone.” Worth a spin.  –Noah (Bakery Outlet/Echo Canyon, bakeryoutletrecords.com/echocanyonrecords.com)


OLD GROWTH / 12XU:
Split: 7"
We’ve got a problem here. It’s finals at school and I’ve got limited time to write these reviews, but all I want to do is play this record over and over! Old Growth combine winding guitars, interesting rhythms, and vocal hooks while retaining a punk compactness. Think Jawbox or Unwound at a house show. France’s 12XU play silty indie punk with sing-song vocals. They remind me of an old favorite, Garden Variety. Two songs from each band, but I’ll be seeking out more. My grades may suffer for it, but damn the torpedoes; it will be worth it. –CT Terry (Bakeru Outlet)


OLD GROWTH / SCIENCE OF YABRA:
Split: 7"
Science hits again with another dirty Jehu-styled dirge—if you’ve heard either of their LPs or any of their 7”s, you know what pond you’re skinny dipping in. Fuck, Luke’s got a set of pipes on him. Old Growth totally rules this record, kicking out two rough-hewn pop songs (and I don’t mean pop in a crappy K Records way but a good, melancholy-but-still-rocking broken heart on your sleeve kind of way.) They’ve also got an LP out and after listening to their side of the split about twenty times in a row it looks like I’m gonna have to go pick it up. –Keith Rosson (Bakery Outlet)


OLD LINES:
Demo: CD
Old Lines play dark, raw, gritty, and heavy hardcore punk that totally rips! I was blown away when I saw them play in a basement in CT, and this demo does a great job of capturing their live ferocity. The demo includes three songs of catchy riffs, manic drum beats, and throat-blistering vocals. The only disappointment here is how quickly the demo is over. Three songs just aren’t enough! Thankfully, the band is heading into the studio to rerecord these songs, plus a few more for a second release later this year. Pick this up to tide you over until then. I can’t recommend it enough. –Paul J. Comeau (oldlines.bandcamp.com, oldlines666@gmail.com)


OLD LINES:
Self-titled: LP
Pummeling, raw, vicious hardcore from ex-Pulling Teeth and Ruiner folks, so you should have some idea of what you’re in for. Low, fast, hyper-aggressive hardcore with the occasional non-derivative breakdown and even flashes of gloomy melody. Hell, I might dig this more than both PT and Ruiner, and that’s saying plenty. Get this shit. –Dave Williams (Self-released, oldlines.bandcamp.com)


OLD LINES:
Self-titled: 12” EP
You know the feeling you get when you see a great band live? The hair stands up on the back of your neck, and it feels like the music isn’t just vibrating in your ears, but right down to your DNA. That’s the feeling I’ve gotten both times I’ve seen Old Lines play, and their debut 12” captures that experience in vinyl form. The record features seven tracks, delivering Old Lines’ crushing riffs direct to you. I was a big fan of the band’s sharp political lyrics, which tackle a variety of topics, but especially on the track “Cages,” for its anti-vivisection theme. Vocalist Matt’s potent roar and the rest of the band’s thundering music is so intense on record, you’ll swear you’re in a dirty basement somewhere experiencing them live. –Paul J. Comeau (oldlines bandcamp.com, oldlines666@gmail.com)


OLD MAN LADY LUCK:
Self-titled: LP
Old Man Lady Luck busts out heavy instrumental rock that defies easy genre classification. Are they post-hardcore? Post-rock? Drone? They are perhaps a little of each of these things, but they are also so much more. With lots of guitar wankery, frequent changes in tone and tempo, and complex riffs that rise and fall in intensity, each song on this record feels like a movement of a symphony. Combined, the songs on this album reveal a fine tapestry of sound. I continue to find things that intrigue me about this album, even after repeated listens. Regardless of your taste, there will be something about this album that will pique your interest. –Paul J. Comeau (Forge)


OLD MAN LADY LUCK:
Self-titled: LP
MOM, SUMMER CAMP IS WEIRD, BUT I FOUND THE ONE GUY WHO THINKS “OBLITERATION” BY BLACK FLAG IS A GOOD SONG!!! Actually, for something i hate, this is not terribly bad. BEST SONG: There are songs? BEST SONG TITLE: There are song titles? FANTASTIC AMAZING TRIVIA FACT: Record has the phrases “Meat on meat, eh?” and “Get him a glass of meat, eh?” inscribed on the runoff grooves. –Rev. Norb (Forge)


OLD MAN MARKLEY:
Guts N’ Teeth: CD
This down-to-earth, bluegrass, good time band is going to be your favorite thing.  Every person in this group seems genuine in their art.  I love watching them all have a great time performing while simultaneously trying to fit the entire band onto one stage.  This album reflects all the happy things they project out to their audience.  If you get a chance to see them perform, get off your couch and make the effort because you will be glad you did.  Go out and get two copies of this record for you and someone you like. –Corinne (Fat)


OLD MAN MARKLEY:
Guts n’ Teeth: CD
This is a bit of an oddity. We have here a Fat Wreck release that could potentially be played on CMT or TNN, if it were still around. This isn’t punk with a distinct influence from some country music. This is a full-on modern bluegrass album that just happens to be played by a legion of punk rockers. Mainstream country is about as big a cesspool as Clear Channel-core rock, so it’s nice to hear some stuff with an Appalachian slant that doesn’t involve an excessive sheen of jingoism or enough mawkish sentimentality to make one want to join a Nordic black metal band. (Okay, “Song Songs” does get dangerously close to crossing the line on the sentimental thing though.) Simply put, this is a fun record. It’s the type of thing you could probably put on at a party with mixed company and not kill the buzz of people who are less accustomed to the noisier side of things. –Adrian Salas (Fat)


OLD MAN MARKLEY:
For Better for Worse: 7”
When this band was described to me by a friend of mine, I felt it was pretty much the opposite of something I’d want to listen to. Seriously, how many fiddle, stand up bass, and banjo bands are out there these days? Well, I begrudgingly went, saw them play, and was an instant convert. This is just great twang music that is played really well. The countrified Screeching Weasel cover on the flipside is pretty damn fine, too! –Ty Stranglehold (Fat)


OLD TIME RELIJUN:
Catharsis in Crisis: CD
These guys make Wesley Willis sound like Asia –Sean Koepenick (K)


OLD WIVES:
Backed in a Corner: CD
The opening track on this disc is amazing! It’s so good, in fact, that I felt that the rest of the disc couldn’t live up to its awesomeness. It’s not that the rest is bad by any means—it’s standard pop punk stuff—but, damn, that first song stuck with me for awhile. It would have been great to have that song on a 7”. –Ty Stranglehold (When’s Lunch)


OLD WIVES / BLENDOURS:
Here We Go Again: CD
These two bands play equally sterile pop punk. As I reach the end of the album, I’m trying to recall a single song I just heard, and I can’t. Just a bunch of chirping with too-clean production. The songwriting is strictly by-the-book. Sometimes bands just get lost in their attempt to achieve perfection.  –MP Johnson (Eccentric Pop, eccentricpop.com)


OLDE GHOST:
Totally:
Suggestion to whoever wrote the one sheet: don’t name drop Drive Like Jehu and Hot Snakes when the band you’re pumping is pretty much a straight-ahead modern punk band with screamed-rasped vocals, heavy tuning, and weight. Whereas John Reis, Gar Wood, and Co. made songs in which the notes could be made into maps of different, freaky, and badass worlds, Olde Ghost’s music is more or less a straight line with a couple of small swerves and pebbles being kicked up. Like End On End, perhaps, or the less interesting God Hates Computers tracks? Nice chipboard packaging and it came with a CDEP, too. –Todd Taylor (7”EP)


OLDE GHOST:
Use Your Illusion 3 ‘N’ 4: LP
Way above average post hardcore punk with an emphasis on the hardcore. This kind of feat is seldom achieved, but I can see this tickling the taste buds of folks who enjoy Born Against, Planes Mistaken For Stars, and Samiam alike. The Guns N’ Roses and Nirvana artwork parodies are fun, but if I were the kind of person who truly judges a book by its cover, then I may not have been quick to pick this gem up solely based on those qualities. –Juan Espinosa (Handstand)


OLDE GHOST:
If We Ever Get Out of This Alive: EP
Life can be circular with attitudes and fashions coming back around once the original purveyors have long since given up and the “kids” reinvent the wheel. Seems that we are in a ‘90s throwback era, which for any of us who lived through it, seems like a dreadful idea. Olde Ghost from Seattle is digging back into that hazy post straight edge era just before everyone went emo. I’m not knocking it, ‘cause I’m sure this lot are a bulldozer live. Off kilter Flag-esque riffs mixed with Swiz or maybe shit like Struggle and some of the mid period Revelation Records stuff. I take comfort in the known, the familiar, but while this checks all the “hardcore” boxes, it barely got my heart rate up and after the record disappeared back in its sleeve, I knew it would never see the light of day again. –Tim Brooks –Guest Contributor (facebook.com/OldeGhost)


OLDFASHIONED IDEAS:
We’re in This Shit Together: LP
This is a very limited (250 copies only) LP edition of a popular 2010 Swedish street punk CD. A quality blend of early Euro oi and faster U.S.-based oi/street sounds, there’s nothing not to like about this LP. My favorite song is “Spirit of ‘95,” a non-sarcastic, honest nostalgic trip down memory lane for a time that the band members actually experienced. It’s pressed on cool purple vinyl and packaged in a sleeve featuring a montage of photos of Oldfashioned Ideas and their peeps. The photos help to prove the time-honored truism that European punks and skins are better-looking than their stateside counterparts. I love my friends, but we are fucking ugly compared to this crew. –Art Ettinger (Switchlight, switchlight-records.com)


OLDFASHIONED IDEAS:
Promises Mean Nothing: CD
I’m so fucking sick of fake nostalgia. Pictures of shit from the forties on a skinhead album. Shock me, shock me, shock me. Lyrically, this is so off it’s occasionally painful, and I’m not even getting into the missing space in the name. Or am I? I am. If you want your logo to consist of an O and an I, think of a fucking name that only has an O and an I. Anti-racist skins who claim “blues belong in sheds” and “country only draws in rats.” Genius lyricists, indeed. Musically, it’s second-rate street punk without the aggression or mandatory chant required to be oi! –Rene Navarro (Switchlight)


OLDFASHIONED IDEAS:
Promises Mean Nothing: CD
In just three years, Sweden’s Oldfashioned Ideas have made quite a dent on the worldwide streetpunk scene. This is their second full length album and it doesn’t disappoint. Reminiscent of Montreal’s Ripcordz, but with more of an oi influence, fashion punks everywhere will dig this release. And as was the case with their first album, there’s a photo collage on the insert to remind U.S. punks how much uglier we are than our European analogs. Singer Per has a solid, emotive tone to his style that sets these guys apart from the competition. Not that there’s a competition. Although I’d rather watch a streetpunk competition than any of the presently existing organized competitive events that this world has to offer. –Art Ettinger (Switchlight)


OLEHOLE:
Holemole: LP w/CD
First off, it’s pronounced “O-lay Mole-ay” and the album title is pronounced “Hole-ay Mole-ay”. Kind of stupid, I know, but, thankfully, the music makes up for it. Their sound is a mix of Hot Water Music and Red Animal War (especially on the vocals). It includes members of Burial Year and the Ghost and was recorded by one of the dudes from American Steel. The LP (in your choice of white or clear red) comes with the CD. The first track, “Gatekeeper,” isn’t necessarily the best song to start out with, as the singing vocals just sound silly after the fierce yelling with which it contrasts. And “Treble Hook” has a really annoying guitar part that it keeps coming back to. But beyond those two weaker tracks, there’s a good intensity and passion that comes from this band, the kind where you can tell they’re excited to be doing what they’re doing and believe in it. It’s been hard to figure the lyrics out. They require some thinking and I get a feel here and there about where they stand on things. From what I can tell, they like to question the traditional order of authority and the traditional order of things, and as someone who has been doing that a lot in my life lately, I can totally get behind that. –Kurt Morris (Underground Communique)


OMAR A. RODRIGUEZ-LOPEZ:
OMAR A. RODRIGUEZ-LOPEZ: CD
Gotta admit, I was never much of an At the Drive-In fan, but this wasn’t too bad a listen. This is a collection of primarily instrumental music Rodriguez-Lopez has put together for an unfinished film project he’s been working on. On its own, the music is a hodge-podge of space rock-styled jams, samples, static patterns, synth noodling and the like layered over one another. Perfect listening for your next brownie and tea party, if you catch my drift. –Jimmy Alvarado (GSL)


OMEGALORD:
Hammer Down: CD
You know when you end up having to go to Guitar Center to get some strings or something and there’s always some dumbass subnormal redneck working there and he won’t put down the Dime Slime that he’s been shredding on long enough to help you with what you need? This band is made up of five dudes like that. Completely retarded (and not in a good way) heavy rock that sounds like third-rate Pantera. I know Todd only gave me this to review because the first song is called “Skull Bong.” Cool song titles aside, this thing is a ridiculous waste of everyone’s time. –ben (Omegalord)


OMENS, THE:
Destroy The ESP: CD
Denver, a bubbling musical hot spot long before theme park Elitch’s moved and the squatter-infested train station was turned into the center of civic pride, spews out the Omens’ sneering, stripped-down garage punk the way it all started. I feel as good as when I first heard the Oblivians. Requires Russ Meyer-busted go-go dancers, not included. –Jessica Thiringer (Hipsville Int’l)


OMENS, THE:
Make It Last: 7”
Synthesizer—check. Fuzz—check. High pitched singing—check. Not enough flying saucers, though. –Speedway Randy (Hipsville)


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·Top 5s From Issue #46
·SECRET MOMMY
·MILLION DOLLAR MARXISTS
·SNAKE TRAP, THE
·BOMBÓN
·DEAD SERIOUS / DIEHARD YOUTH
·MATTE
·MIXELPRICKS, THE
·QUEST FOR FIRE


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