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:Punk Parenthood for the Sleep Deprived XII
· 2: Tear A Cognita #07: Minneapolis, Minnesota
· 3:Louis Jacinto Photo Column - Patti Smith
· 4:Featured Book Reviews from Issue #91
· 5:A Tribute to John Stabb


Subscriptions
Renewal
New Subscriptions
Stickers and Buttons
Gift Subscription


Spokenest, Gone, Gone, Gone LP
Pinned In Place, Ghostwritten By LP
Razorcake #91
Razorcake Embroidered Patch
Ghostbot Records Bundle *Get it!!!!


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.

No Idea Records

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

| 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

PAYBACKS, THE:
Harder and Harder: CD
...as much as Mike and John from the Hentchmen were the delightful embodiment of Chip & Ernie from My Three Sons made Rock in their previous band, so, in a miraculously inverted manner, do they now appear to we, the masses, as a titanic, granite-pectoral-muscled rhythm section of fucking ROCK, BABY, in their current band. Add to that a guitar player who sounds like he absorbed every relevant scrap of data from every great three-letter-first-named lead guitarist in history (i’m thinking “Ted” and “Ace” here, but you’re welcome to bring your own findings to the table), and it is apparent that a unit of Rock Most Imposing has been manifested. However, the REAL keystone in this Granite Arch O’ Boogie is one Miss Wendy Case, a shingle-throated chanteuse of such awe-inspiring HARDNESS and RAWITUDE that she makes Patti Smith seem like one of those buxom German broads whom one sees depicted toting around trays full of thick-bottomed beer mugs during Oktoberfest, and so blonde that she makes Penelope Houston seem like a brunette. I mean, fuck—Ian Stuart WISHES his vocals sounded this tuff on the first Skrewdriver album! If this chick gets locked up in the same cell as Angry Anderson of Rose Tattoo, it’s Angry who’s getting fucked up the pooper! Wendy Case is the fucking SHIT, and, when the band backs the intensity level down to mere Orange Alert status, it is apparent that we stand in the majestic presence of the thermonuclear-powered Faces of our time (although, as a gambling man, if you want my best guess on how many ounces of whatever that Wendy’s stomach would offer up if they pumped it after she passed out onstage, i’m advising you to bet the under). Needless to say, this might be the first time ever it could be said that a bitch has been the Paybacks. Okay, sorry, i couldn’t stop myself. BEST SONG: “Me” BEST SONG TITLE: “Jumpy,” because it sounds like something Rene Hall would’ve written on the Unitar. FANTASTIC AMAZING TRIVIA FACT: For the back-cover-gazers among you, “Celebrate Summer” is not a misspelled Hüsker Dü cover, but is, in fact, a most outstanding rendition of the last T. Rex single to be released in Marc Bolan’s lifetime. Double kudos for the band, as i never saw that song as anything other than a missed cover opportunity for the Silicon Teens. –norb (Get Hip)


PAYBACKS, THE:
Knock Loud: CD
Loud, raucous rock’n’roll steeped in Detroit hooks. Kinda reminds me a teeny bit of old Cheap Trick every now and then. –jimmy (Get Hip)


PAYOFF, THE:
Riders of the Dead Horse: CD
Musically, Birmingham’s The Payoff brings together a bunch of post punk and hardcore influences, with the overly whiny vocals making the already odd songs even less accessible. Fans of artier strains of hardcore will appreciate the undeniable creativity, whereas the rest of us would probably rather attend a scrapbooking or papier-mâché party to get our creative fix. Does anyone know what time the fabric store closes? –Art Ettinger (House of Love, www.houseofloverecords.net)


PAZAHORA / GHAUST:
Split: 7"
Two hardcore bands from Southeast Asia drop one long, sludgy song a piece. Pazahora add ominous black metal to their crust and bring to mind One Eyed God Prophecy or Union Of Uranus. Their song ends with an acoustic break and a sound bite from the documentary One Nation under Lee, about Singapore’s first prime minister. Their liner notes and lyrics discuss violence in Singapore, which has the highest execution rate in the world. Ghaust’s track is a terrific doomy instrumental companion. Nicely designed packaging with handmade flourishes. –CT Terry (Diseased, diseasedrecords.com)


PAZAHORA / KAH-ROE-SHI:
Split: EP
Obviously a ton of bands out there have been inspired by His Hero Is Gone / Tragedy / From Ashes Rise. The majority of these clone bands sound so lifeless in the end, taking it safe and going through the expected motions. Pazahora sound similar to From Ashes Rise, and Kah-Roe-Shi sounds like HHIG. Neither band does anything to make them standout. –Matt Average (Diseased, www.diseasedrecords.com / Epidemic, epidemic_distro@hotmail.com)


PCP ROADBLOCK:
Sporting Goods World War III: CD
Mid-tempo to dirge speed noisecore. If you really wanna get outta that long lease on your apartment, you can’t go wrong with this puppy blasting through your speakers. –jimmy (Wet Tail)


PCP ROADBLOCK:
Sporting Goods World War III: CD
Mid-tempo to dirge speed noisecore. If you really wanna get outta that long lease on your apartment, you can’t go wrong with this puppy blasting through your speakers. –jimmy (Wet Tail)


PEABODYS, THE:
Awkward Age: 7” EP
It’s like Mutant Pop never died in the minds of these Queers-ish, Rivethead-ish boys! They even have a song about lame emo fuckers. “Even nights you walk the train tracks/ Odd, read Kerouac on desolate rooftops/ We got it, got it all/ Are you through?” I just wish the songs were faster, because I could then compare this to a great punk rock cereal. As is, it would be Kix. Yes, there’s sugar in it, but please! More sugar! More, um, speed? I am an idiot. –Maddy (Infringement/ Incessant Drip)


PEABODYS, THE:
The Future Will Kill You: 2 x 7” EP
The first time I ever heard The Peabodys was on their split 7” with The Steinways, so I think it’s funny that a bunch of these songs are under a minute long (as per old Steinways material). Musically, it’s pretty straight forward pop punk, making it fitting that this is one of the label’s “Comeback” 7”s, as it’s just what I would’ve expected from it. While I got the shaft on colored vinyl, this did come with a bonus one-sided 7” with a Screeching Weasel cover that probably is better than the original. –joe (Mutant Pop)


PEACE CORPSE:
Terror of Quincy: LP
If memory serves, Peace Corpse evolved from a joke band called Moslem Birth, whose primary purpose was to take the piss outta Christian Death. Fronted by Toxic Shock head honcho Bill Sassenberger and featuring over the years members of Thee Undertakers, Insulin Reaction, and Man Is The Bastard, the band’s sound evolved over time from solid mid-tempo and slower punk with snotty vocals to something a bit more evolved and complex in delivery, while retaining the slyly topical, smart-assed-yet-intelligent lyrical content throughout. Collected here are all the tracks from the Life Death and Quincy 7” EP on side one and selected tracks from their later Terror of History LP. Nice hearing this stuff again, especially old favorites like “Jocko Macho (Quincy Punks).” –jimmy (Toxic Shock)


PEACE OF SHIT:
Self-titled: Cassette
So lo-fi it’s not even on the chart, Peace Of Shit present a tape of dirty, down-to-earth hardcore/garage punk. Sounds like the Reatards or the Mummies. Despite its cultural pedigree, Peace Of Shit shines more when the songs take a step back from the frantic kinetics of their sonic predecessors. The slower songs remind me of the better parts of King Kahn’s output, which is a plus. If you can stand the no-fi, which is seriously harsh in places, take a look. –Bryan Static (Rainy Road, rainyroadrecords.com)


PEACEBASTARD:
Global Crisis: EP
Blistering guitars that rip and tear, leaving jagged necrotic slashes, and percussion that kicks and punches with intensity. Then you have a dual vocal attack—one sounds like complete hell, with her loud and throaty bellows that sound like her last vocal chord has been shredded to oblivion, backed by low, somewhat deep, from-the-gut male vocals that work more as a signifier. The intensity of this record is awesome. They play like this could be the last day on earth. So f’n awesome! –Matt Average (Heartfirst, info@heartfirst.net, heartfirst.net)


PEACH FUZZ:
About A Bird: CD
Pop that takes its cues from the mid-’60s. Lotsa stylistic explorations and hella strong songwriting keep things interesting. –jimmy (Dionysus)


PEACH KELLI POP:
Self-titled: LP
This sounds like The Chipmunks, if the Chipmunks were female and huffed helium. For reasons that are well beyond my own grasp, I like it. Sixteen-year-old me is punching me in the face every time I listen to this. This makes Redd Kross sound like the Cro-Mags in comparison. This makes ukuleles sound like chainsaws. And I like it. What the fuck? Goddamn, is that a triangle tinkling or a tambourine or a toy xylophone? All three? C’mon! It’s Allie Hanlon, drummer of the White Wires. Cut this and it bleeds cotton candy. Stare at it, and it grows cute cat whiskers. Gah! And I like it. –todd (Bachelor)


PEACH KELLI POP:
Self-titled: LP
House and basement shows are a rarity in Birmingham, AL. Basement shows featuring bands I’m willing to leave my house for, even rarer still. So being provided a magic moment with Peach Kelli Pop (with Mean Jeans providing the rhythm section) via the gracious kids of God’s Butt basement was in incredible weekday night gift. A head-nodding, booty-twisting, beer-can-emptying good time was had by all thirty attendees that evening… and I’ll pick up any PKP release from then on. This LP definitely sticks to the thinner-sounding ‘60s pop formula championed by Burger, but its ability to conjure the good-time party vibes of their live show gives it heft. Highly caffeinated soda plus candy bars plus spinning this record and you may not have an unsmashed stick of furniture in your room. –Matt Seward (Burger)


PEACH KELLI POP:
Self-titled: LP
I was flipping through the new arrivals at my local record store and stopped when I saw this one. I knew the band name was familiar to me but I couldn’t recall where I’d heard it. It turns out they took their band name from the title of a Red Kross song. The cover photo of singer/guitarist Allie posing on the beach wearing her pastel-colored guitar covered with sparkly stickers took me back to the early ‘90s when we first started to see bands featuring young women playing pastel-colored guitars covered with sparkly stickers; the band Cub comes to mind. I liked a lot of that music back then and was pretty sure I would like this group today. This particular copy of the record was autographed by Allie inscribed to a chap named Bryan. I decided to take a chance and plunked down my nine dollars plus tax. It turns out that Bryan’s loss is my gain. This album features ten songs of ‘60s-style pop with Allie’s slightly distorted vocals drawing me in. The production is suitably trashy and lo-fi. The one slow song here, “Tough Stuff,” actually reminds me of The Kinks’ “Waterloo Sunset” which is high praise in my book. –Chris Peigler (Bachelor)


PEACH KELLI POP:
III: CD
This is raw sugar, none of that stevia or Splenda crap. I’m getting cavities just by listening to this unabashedly cheerful CD. Allie Hanlon’s voice is confident (and, oh, so sweet), the hooks are playful, and the pink-beach-cruiser vibe is spot on. Peach Kelli Pop is guaranteed to transform your bad-day blues into a rainbow. –Sean Arenas (Burger, burgerrecords.org)


PEACH KELLI POP:
Self-titled: LP
I’m going to admit something totally lame: I’ve avoided this band for three albums because of the record covers. I know how that sounds, but I just can’t get past the album covers. I even admire the uniformity. But it’s young people’s music, I guess. This band does do something new and raw with the three-chord punk song with ethereal vocal segments adding an out of tune and unpredictable element. “Shampoo” stands out as having about as much thinking as I like in a song. “It stings, stings, stings in your eyes.” I like stuff like that. This isn’t essential to me, but if you like that sort of Bay Area sound, I feel you’d like this. I saw them listed on one of those lame “punk bands to watch out for” lists on the internet. They strike me as having more staying power than being listed on one of those, if that helps. –Billups Allen (Bachelor)


PEACHFUZZ:
About a Bird: CD
Why am I stricken with the indie rock CDs? Why, god, why? This has one good song that sounds like The Muffs, and a lot of other songs that sound vaguely like early R.E.M. (The song "Easy Way Out" has almost the same intro as the R.E.M. song "We Walk" off Murmur.) Hey, I LIKE early R.E.M. AND the Muffs, but, somehow, this combination ended up sounding more like drippy crap. If this were a cereal, it?d be Cheerios. No fun! –Maddy (Dionysus)


PEACHFUZZ:
Catch Your Snap: CD
Decent laid-back power pop (i.e. way more Big Star than 999), but nothing that makes me want to throw off my clothes and jump on a trampoline—the standard reviewing benchmark. I think I am regressing. The older I get, the faster I want my music to be! By the time I'm in a nursing home, I'll just be listening to speed metal. For shame! I'm also creeped out by the cover art—a drawing of a naked woman with the fish head. Yikes! If this were a cereal, it'd be a defective box of Apple Jacks with the sugar mysteriously missing. Calling Encyclopedia Brown! –Maddy (Teenacide)


PEACHFUZZ:
About a Bird: CD
Why am I stricken with the indie rock CDs? Why, god, why? This has one good song that sounds like The Muffs, and a lot of other songs that sound vaguely like early R.E.M. (The song “Easy Way Out” has almost the same intro as the R.E.M. song “We Walk” off Murmur.) Hey, I LIKE early R.E.M. AND the Muffs, but, somehow, this combination ended up sounding more like drippy crap. If this were a cereal, it’d be Cheerios. No fun! –Maddy (Dionysus)


PEACOCKS, THE:
It?s Time for the Peacocks: CD
Well, if you took everything that was wrong with Social Distortionesque faux-shitkicker rock (i.e., lots) and spliced that onto everything that was wrong with Sonic Iguana-spawned pop punk with the chord changes every eight beats (i.e., everything), you might get the Peacocks. You lucky lady! Band further compounds matters by singing every other song about bands who, in their own dizzying world view, are their tragically more popular inferiors. The leadoff track states "We're too good for the charts!" Dudes. I got news for ya: You're not even too good for a Mutant Pop CD-R. There may, however, be spots open for you on Hunter S.Thompson's ranch. BEST SONG: "This Time" BEST SONG TITLE: "I Can Do a Lot For My Size" FANTASTIC AMAZING TRIVIA FACTS: 1) "Love Song" is not the Damned composition; 2) "Warning" is not the Green Day composition; 3) "For You" is not the Anti-Nowhere League composition; 4) The insert indicates that "Last Words" is the name of both track #2 and track #13 but it's really only the name of track #2; and 5) Bands mentioned in the "CHECK OUT THESE BANDS" list include both Screeching Weasel and Rancid. Thanks for the tip, Slick. –norb (Asian Man)


PEACOCKS, THE:
It: CD
Well, if you took everything that was wrong with Social Distortionesque faux-shitkicker rock (i.e., lots) and spliced that onto everything that was wrong with Sonic Iguana-spawned pop punk with the chord changes every eight beats (i.e., everything), you might get the Peacocks. You lucky lady! Band further compounds matters by singing every other song about bands who, in their own dizzying world view, are their tragically more popular inferiors. The leadoff track states “We’re too good for the charts!” Dudes. I got news for ya: You’re not even too good for a Mutant Pop CD-R. There may, however, be spots open for you on Hunter S. Thompson’s ranch. BEST SONG: “This Time” BEST SONG TITLE: “I Can Do a Lot For My Size” FANTASTIC AMAZING TRIVIA FACTS: 1) “Love Song” is not the Damned composition; 2) “Warning” is not the Green Day composition; 3) “For You” is not the Anti-Nowhere League composition; 4) The insert indicates that “Last Words” is the name of both track #2 and track #13 but it’s really only the name of track #2; and 5) Bands mentioned in the “CHECK OUT THESE BANDS” list include both Screeching Weasel and Rancid. Thanks for the tip, Slick. –norb (Asian Man)


PEACOCKS, THE:
Angel: CD
The Peacocks robustly blast through thick chunky slabs of unruly punkish rockabilly belligerence on this here skull-skewering platter of sonic stir fry! Hot damn daddy, it's all-at-once smooth, suave, raucous, cacophonous, and killer-cool! These swaggerin' spark-sizzlin' songs are aurally reminiscent of Social Distortion, The Screaming Blue Messiahs, Southern Backtones, Johnny Cash, and the devil-in-hell himself... and they salaciously conjure degenerate images of souped-up pavement-shreddin' '57 Chevys, switchblade-slashin' alleyway scuffles in the dead darkness of a crime-ridden metropolitan night, flamin' snake-eyed dice, grease-saturated brylcreem-encrusted ducktail coiffs, chug-a-chuggin' freight-train solitude along a vast moonlit sprawl of American "wild west" desert, Lady Luck lasciviously struttin' her stuff buck-ass naked and all in your face, pin-up girl tattoos, lawlessness, sin, decadence, debauchery, and rock'n'roll rebellion. Hell yeh, The Peacocks maliciously make Swiss cheese outta my ears, and I'm cretinously cravin' more, motherfuckers, more! –Guest Contributor (Asian Man)


PEAR OF THE WEST:
Self-titled: 7”EP
How is it that the Japanese have the same pieces to the puzzle that everyone else is given—instruments, brains, hearts, practice space—and yet they can come up with, time and again, music that’s more in focus, bouncier, and tighter? Pear Of The West are no exception; from Mami’s incredible voice, to the Buzzcocks meet the Parasites pop punk paradise of the playing. It’s the perfect realization of strong-voiced female vocals joyfully bubbling atop the best of the ‘90s, all compressed into superballs of songs that bounce all over the place and never get mushy. –todd (Snuffy Smiles)


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

| 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



·Stolen Sharpie Revolution 2
·GOONS OF DOOM
·TELEMARK
·My Life in a House Band
·DOWNTOWN BROWN
·SNIFFS, THE
·BLIND SHAKE, THE
·JABARA
·The Blatant Stereotypes Finish Second in Punk Rock Bowling Tournament


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.

© 2001-2015 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.