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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 | 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
REDEMPTION 87:
All Guns Poolside: CD
Man, I built up so much hate for everything that developed from the original New England youth crew scene I forgot how fucking good Youth of Today and some of the others were. Taking YOT and the Cro Mags as starting points and then not going anywhere else (except to the Bad Brains and Negative Approach for covers), R87 tears down the walls with the best NYHC I’ve heard in many years and so what if it’s retro? I’m already tired of the bandana refestival, so I’ll chew on this until someone starts a revival of the classic work of Kilslug.
–Cuss Baxter (Blackout!)
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REDLINERS, THE:
Just Tonight b/w Fakes: 7?
The A-side, "Just Tonight" almost sounds like the Yardbirds. It's a type of blues pop that wouldn't be out of place in a jukebox and I wouldn't be bummed if it was played when I was playing pool. Let's just hope that one of these guys doesn't get electrocuted at home while playing his guitar like the Yardbirds' guitarist Keith Relf. The B-side has what the cover proclaims. Grunge pop: dirty, loping guitars and grit-infected vocals. I liked the A-side better.
–Todd Taylor (Dee Minus)
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REDLINERS, THE:
Just Tonight b/w Fakes: 7"
The A-side, “Just Tonight” almost sounds like the Yardbirds. It’s a type of blues pop that wouldn’t be out of place in a jukebox and I wouldn’t be bummed if it was played when I was playing pool. Let’s just hope that one of these guys doesn’t get electrocuted at home while playing his guitar like the Yardbirds’ guitarist Keith Relf. The B-side has what the cover proclaims. Grunge pop: dirty, loping guitars and grit-infected vocals. I liked the A-side better.
–Todd Taylor (Dee Minus)
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REDNECK MANIFESTO, THE:
I Am Brazil: CD
Unsure of what to think of a band with the name The Redneck Manifesto, I was pleasantly surprised to find out that this Irish group was in reality an instrumental rock act similar to Tortoise or Saxon Shore with an occasional Julie Doiron, Paul Newman, or Kreidler influence here and there. Getting little treats like this make writing reviews worthwhile. The Redneck Manifesto seemingly knows when to punch that extra fancy guitar riff, when to throw in that extra little instrumentation, when to switch it all up, and when to pull it all back and mellow out. The songs never get too busy, nor do they ever seem to get dull. This is by no means what most Razorcake fans are probably into, but for those who fancy themselves fanatics of any of the aforementioned acts, the eleven songs that make up I Am Brazil are worth checking out.
–Kurt Morris (Australian Cattle God/Terrible One)
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REDONDO BEAT:
Meet Redondo Beat: CD
I strongly associate Dionysus Records with producing records by bands that, on the surface, should probably appeal to me on some level, yet always wind up making records so sanitized and dead-sounding that they never actually do. I mean, Redondo Beat, hmm, with a name like that you’d figure they oughtta be a Californian version of the Barracudas ((whom themselves were about as Californian as an English band gets)), which should, by rights, be decent, even though the band is actually from Germany, which should maybe be even better, shouldn’t it? Yet, no matter how many times i listen to this, nothing ever “gets home” ((as we say in football cities where pass protection is a common discussion topic)), and i can’t help but thinking that if these songs were recorded by Del Shannon or the Plimsouls or someone ((or, in the case of “From The Start,” been one of the downtempo numbers on Stiv Bators’ “Disconnected” album)), they woulda come out much better, though i can’t give you any specific reasons why. This label’s offerings are almost invariably devoid of some critical spark of life to elevate them above “OK i guess” status, and, tragically, Redondo Beat uphold the company tradition admirably. BEST SONG: “The Sweetest Sound” BEST SONG TITLE: “Shoop Shoop” FANTASTIC AMAZING TRIVIA FACT: “Shoop Shoop” is not to be confused with “The Shoop Shoop Song,” which is a completely different bunch of shooping.
–Rev. Norb (Dionysus)
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REDRUM/ NEGATIVE STEP:
Split 7: EP
Redrum: Thrash, side one. Sounds like they totally stripped out the innards of Minor Threat's songs, built a new machine that grinds louder, is less anthemic, and runs at a higher RPM. Not a new wheel, but not a flat tire neither. Points go to the lyric, "there's no laws that make me comfortable, no amount of police that make me feel safe." Negative Step: Thrash, side two. I don't get the Negative Step graphics. On the inside, the grim reaper's going after a guy with a mohawk, and on the cover, he's got the head of a guy with liberty spikes in his hands. The reaper's wearing a baseball cap with "Dekalb" embroidered on it. (A possible reference to a release of thrashmasters Charles Bronson?) They've got the early "in an empty tin can while standing in a metal bath tub" feel of the recording, at least - but not the unhinging power - of Bronson. Yet, they endeared me with the ditty "Skate Free." Skating's fun. The songs give me a headache. That is not a complaint.
–Aaron J. Poehler (Satan's Pimp, PO Box 13141, Reno, NV 89507)
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REDRUM/ NEGATIVE STEP:
Split: 7"EP
Redrum: Thrash, side one. Sounds like they totally stripped out the innards of Minor Threat's songs, built a new machine that grinds louder, is less anthemic, and runs at a higher RPM. Not a new wheel, but not a flat tire neither. Points go to the lyric, "there's no laws that make me comfortable, no amount of police that make me feel safe." Negative Step: Thrash, side two. I don't get the Negative Step graphics. On the inside, the grim reaper's going after a guy with a mohawk, and on the cover, he's got the head of a guy with liberty spikes in his hands. The reaper's wearing a baseball cap with "Dekalb" embroidered on it. (A possible reference to a release of thrashmasters Charles Bronson?) They've got the early "in an empty tin can while standing in a metal bath tub" feel of the recording, at least - but not the unhinging power - of Bronson. Yet, they endeared me with the ditty "Skate Free." Skating's fun. The songs give me a headache. That is not a complaint.
–Todd Taylor (Satan's Pimp)
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REDS:
Is: Means: CD
Pointed, angular, discordant, and frantic shit here; one pissed merging of bands like I Spy, The Ladderback, Giant Haystacks, and the gutsy qualities of mid ‘90s screamo. Reds are well founded in the “kick ass and name names” school of I Spy in the lyrical department—mercilessly and intelligently critiquing and attacking government, “progress” and even righteous factions of the punk scene. Musically, they’re building and expanding on the sonic backbone of The Ladderback and bands of that ilk, bands who owe just as much to both Moss Icon and Gang Of Four as they do Mohinder. The end result is a smart, angry, and kinetic record that relies less on hooks than it does a feeling, a sense of atmosphere and place; an album that’s simultaneously listenable and worrisome, where I’m both bobbing my head and trying to quell this sense of impending doom. An excellent record.
–Keith Rosson (Waking)
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REDS, THE:
It’s About Time: CD
Greg can now sit back and let the dough just roll right
in. He’s finally found the missing link between the Rip Offs and Loli and the
Chones. Classic stuff, to say the least, especially the unlisted cover of the
Urinals’ “I’m A Bug.”
–Jimmy Alvarado (Rip Off)
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REDSCARE, THE:
Eight Pieces Of Summer: CD
This is not The Red Scare
that released two albums on Troubleman (and I have to say that I wish it were
because I might have actually liked that). To understand this record, think of
the Mighty Mighty Bosstones’ Dicky Barrett fronting a mediocre (at their best)
college rock band, playing music from 1992. If that sounds unappealing, I’ve
done my job.
–Puckett (Teenage Rampage)
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REDSKINS:
Epilogue: CD
Back when I was a kid (well, adolescent, actually) in the ‘80s, my dad would occasionally bring home albums he’d gotten from the record store next to his work that he thought his punker sons would find interesting. One of these was a Redskins album, and I remember being really put off by the horns and the occasionally ‘80s pop feel many of the songs had, and of course, the album was summarily ignored past what couldn’t have been more than two spins. Listening to this—a collection comprised of their two singles for the CNT label, three demo tracks, one live track, and three tracks from a precursor band, No Swastikas—makes me wish I’d paid just a little more attention to that album. Sure, the horns and occasionally too radio-friendly beats are still there, but what I’d failed to notice all those years ago is that they were pretty goddamned good at what they did. Many times here they deliver the tunes with such intensity that they come off sounding like the Minutemen on a warp-speed meringue binge, melding post-punk with soul, left wing politics, and yes, oi/punk sensibilities. This is some really good stuff here, and I’m wishin’ a) it was longer and b) I hadn’t been a dope and kept that album so’s I could compare this against it.
–Jimmy Alvarado (insurgence.net)
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REDUCERS S.F.:
Raise Your Hackles: CD
I’ve been digging Reducers S.F. ever since the late ‘90s or so. They never seem to change, but there is nothing wrong with that because they are great. Well played, well recorded singalong punk rock that has been the backbone of TKO for many a year. It’s great to hear a band you love continue to bring it time after time. Classic.
–Ty Stranglehold (TKO)
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REDUCERS SF:
Crappy Clubs and Smelly Pubs: CD
Wild, wild, motherfuckin’ wild! This is aurally the ultimate in unrelenting punkrock ferocity! The Reducers SF have so severely pummeled my skull with their incendiary sonic savagery, an ungodly amount of blood is now profusely gushing outta my ears and nose. Yep, I just might very well fuckin’ bleed to death before I ever have the opportunity to complete this rant of a review. Whooooo-weee, this is pure unbridled aural energy at its most crisp, crushing, crafty, and crazed! The Reducers SF expertly reinvent the pub-punk sounds of the golden days of yore, and they’re uncannily similar, songstructure-wise, to an atom bomb’s roar of The Business, Cockney Rejects, Sham 69, Peter & The Test Tube Babies, and even a bombastic bit of The Adicts. If the aimless complacent youth of today ever conjure the courage to raucously run amok through the streets in a disruptive show of unity while destructively rioting against the egotistical political powers that be, I’m sure the Reducers SF will proudly provide the chaos-fuelled soundtrack for such an insurrective uprising. This is the angry hostile noise of a dangerous new generation. Parents and politicians, beware!
–Guest Contributor (TKO)
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REDUCERS SF:
Crappy Clubs and Smelly Pubs: CD
After waiting three years for them to follow up their incredible debut album, Backing the Longshot, the Reducers are finally back with Crappy Clubs and Smelly Pubs. Listening to it is like running into an old friend in a bar and realizing that you’ve actually been missing him, so it’s exciting to down a few beers with him and hear all the new stories and go on to have new adventures. Crappy Clubs and Smelly Pubs still has all the catchy hooks and singalong anthems as the Reducers’ first album, but the songs seem to have grown. They don’t rely on the fist-in-the-air choruses quite as much, and the songs are a little bit more complex, but they still float into your brain and stay there like a shot of whiskey. The lyrics are a bit more political and a bit more intelligent, but they still stick close to their oi/street punk roots. It’s a really good follow up and a really good album. On the insert of the album, too, they’ve included pictures of their twelve favorite bars. Twelve. You have to love any band who has twelve favorite bars.
–Sean Carswell (TKO)
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REFLECTED:
Paradise Found: CD
It’s quite coincidental
that this band is called Reflected, because what we’ve got here is a bunch of narcissistic,
phony-ass, whiny, emo, poonhound punk played by a bunch of Hungarians. Do they even have malls in
Hungary?
–Craven (World)
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REFLECTORS / HISSY FIT:
Split: 7”
Reflectors are snotty crust punk. The recording is super lo-fi and tinny sounding; a lot like many a band I have seen at basement shows. Sloppy political punk for fans of Naked Aggression or maybe the Gr’ups in their poppier moments. Four songs on their side. Hissy Fit are sloppy, poppy punk in the vein of Plow United or Toys That Kill. Three songs on their side, better recorded, but still lo-fi. Very Creep Records sounding; they would have been hot shit with the pop punkers ten years ago and probably touring with Weston or Super Hi Five.
–Mike Frame (Bitter Like The Bean)
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REFRIGERATOR:
Comedy Minus One: CD
CD listening, Rule #1: if it has keyboards and it ain’t the Dickies or the Screamers, be very suspicious. Rule #2: if all of the band members are in clown makeup and one is holding an accordion, chuck the disc off the nearest bridge and run. Whatever you do, don’t listen to it.
–Jimmy Alvarado (Shrimper)
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REFRIGERATOR:
Comedy Minus One: CD
CD listening, Rule #1: if it has keyboards and it ain’t
the Dickies or the Screamers, be very suspicious. Rule #2: if all of the band
members are in clown makeup and one is holding an accordion, chuck the disc off
the nearest bridge and run. Whatever you do, don’t listen to it.
–Jimmy Alvarado (Shrimper)
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REFUSE RESIST:
Mind Yourself: CD
Sincere, heartfelt Boston hardcore that’s not bad. Vocals are comparable to Choke from Slapshot. However, it fails to differentiate itself, lyrically or sound-wise, from countless others that play that style. Not enough to hold me or probably anybody who’s not completely rabid for that genre or a part of their scene.
–Craven (Rodent Popsicle)
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REFUSED:
Self-titled: CDEP
I’ll try to explain the difference between real punk and its MTV equivalence. That while both types have screaming vocals, you can hear the anger in a good punk song scream, while Korn or whatnot just go through motions. Another example is that while many Bush songs sound like Nirvana, you can tell Kurt was actually feeling something at the time that made his voice sound like that, while the Bush guy is going through the motions. That being said, this is decent. Another situation where I am not so much into what I am hearing right now as I would be hearing it live. I can be critical and cynical when I have the time to think about this, but I bet I would merely bob my head to this if they played for me. Kind of an intro to screamo for the “extreme music” sect. Also, if you put fancy computer stuff on your CD, do it in a way that most computers can actually use it. I have a fancy pants Mac at work, fully tricked out, and couldn’t see the pictures. Maybe it’s a Mac thing, but that would bear mentioning when you tell me to “put this CD in your computer.” I could see the videos at least. I liked the part when the singer fixes his mod hairdo.
–rich (Burning Heart)
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Refused:
Refused: CDEP
I'll try to explain the difference between real punk and its MTV equivalence. That while both types have screaming vocals, you can hear the anger in a good punk song scream, while Korn or whatnot just go through motions. Another example is that while many Bush songs sound like Nirvana, you can tell Kurt was actually feeling something at the time that made his voice sound like that, while the Bush guy is going through the motions. That being said, this is decent. Another situation where I am not so much into what I am hearing right now as I would be hearing it live. I can be critical and cynical when I have the time to think about this, but I bet I would merely bob my head to this if they played for me. Kind of an intro to screamo for the “extreme music” sect. Also, if you put fancy computer stuff on your CD, do it in a way that most computers can actually use it. I have a fancy pants Mac at work, fully tricked out, and couldn’t see the pictures. Maybe it’s a Mac thing, but that would bear mentioning when you tell me to “put this CD in your computer.” I could see the videos at least. I liked the part when the singer fixes his mod hairdo.
–rich (Burning Heart)
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REFUSED:
Shape of Punk to Come: 2 x 12"
The original pressing of this album was hindered by the then limited budget of Burning Heart Records and was released on a single LP. The record was far too long to properly fit on one record, and the result was a thin mastering job and a subpar sound. It wouldn’t have mattered if it hadn’t been one of the most fully realized hardcore punk records to have come out (ever). Epitaph reissued the LP a few months ago on a bigger budget, but again as a single disc. This is the most recent reissue, and finally sees the record cut across two 12” records, allowing the grooves room to sink and the signal to come out without any hint of distortion. It sounds great. I’ve bought this album at least times since its original release and don’t regret picking it up yet again this time around. This is at least as essential to a hardcore record collection as Damaged or Age of Quarrel. If you read this whole review not knowing what I’m talking about because you’ve never heard this, do yourself a favor and pick it up.
–Ian Wise (Epitaph)
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REGAL:
Possible Endings: LP
Weird, reverb-enhanced mix of mid-fi garage rock, punk, and mutato country rock.
–Jimmy Alvarado (Frantic City, franticcity.free.fr)
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REGGIE AND THE FULL EFFECT:
Under the Tray: CD
I have done a lot of things in my life that I’m not proud of. I have woken up on strange floors after benders, vomited on girls who I had been in love with for years, gagged on my own sick in my sleep and lived to tell the tale, pissed myself after drinking too much, gotten into drunken brawls that I barely remember, shattered glasses in my hands to prove points and bled all over myself and others while sitting in the middle of restaurants – you get the idea. However, even at my lowest moments, even when dimly regaining a drunken sort of consciousness next to a girl who was shouting, “What the fuck is all this puke in the bed?” at 3 a.m., I knew there were things that I would never do. I knew it might take me a while to identify them, but getting this record helped because I will never defile myself by willfully listening to any Reggie And The Full Effect song again.
–Puckett (Vagrant)
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REGIME NOIR:
Native Stranger: CD
One of the nice things about being an older East L.A. punk kid is coming across a band from a later generation that ain’t afraid to expand on what they learned in the backyards by mixing in a lot of disparate sounds and styles. What Regime Noir has done here is to eschew the hardcore template in all but the verve they put into executing the songs, lean heavily on post punk’s loping, reggae-influenced bass lines and slashing guitars, throw in a nod or two to L.A.’s silly monikered “Chicano Groove” scene of the mid/late-‘90s, and add enough of their own personality so that the resulting tunes don’t sound like they rolled off the assembly line at a cookie factory. While it could be argued that the song structures could be reined in a bit more on occasion to achieve maximum impact, they’ve nonetheless managed to set a pretty solid standard for themselves. A great release here, one that retains its punk roots without pandering to its trappings, and that’s already earning them much respect on both sides of L.A.’s bridges. Me, I can’t wait to hear their next release, which I’m betting is gonna blow this one out of the water.
–Jimmy Alvarado (myspace.com/regimenoir)
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