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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
ROUGH KIDS:
The State I’m In: LP
The long awaited debut full-length from L.A.’s most misunderstood punks over thirty. This is elitism at its most actualized. Stick around in punk, play enough hardcore shows, spend way too much money on records and instruments, you’ll eventually figure out that there’s a lot of bullshit out there. You can burn out and move on, or take a couple steps back and work at your own pace, work towards your own vision rather than what’s currently attracting attention. Rough Kids are just trying to be the best punk band they can be. The kind of punk that Stiff would release, or that Feral Ward would release. The kind of punk that hand-glues 500 7” covers cause you want them to look a certain way and the printers can’t do it. The kind of punk that thinks it’s weird to release an LP that’s 45 RPM. The kind of punk that may only makes sense to you, but that doesn’t mean you don’t follow through with it. Irascible and misanthropic, with a steady stream of guitar leads. Rough Kids play a traditional U.K. punk sound that’s been burdened by living life in 2013. It’s current, and it’s fierce. Not bad for a buncha white collar guys.
–Daryl Gussin (Sorry State)
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ROUGH KIDS:
The State I’m In: LP
With all the “hardcore” talk surrounding this band, I was expecting some crazed, thrashy stuff akin to Negative Approach or Septic Death. This ain’t that kinda dance, though. They’re definitely “hardcore,” but more in the late 1979 beach/OC kinda sense of the term—less emphasis on hyper-speed tempos and more on catchy, thuddy brilliance. The band is tight as fuckin’ nails here, seamlessly working each track to a fine punk rockin’ froth that shimmers with bits of the thug-pop glory days of bands like Der Stab, Social Task, Convicted, and the Cheifs, delivering the goods with both enough heft to facilitate the inevitable circle of sweaty boys proving their masculinity, and with enough pop sense layered in that this could’ve been released on Dirtnap and no one would’ve blinked an eye. Sum this whole thing up into a single word? Fan-fucking-tastic.
–Jimmy Alvarado (Sorry State)
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ROUGH KIDS / THE IRRITONES:
Split: 7"
The Rough Kids have easily become one of L.A.’s most cherished bands. They’re able to harness a brand of garage punk that never shies away from the bubble gum hooks yet still stands firm and aggressive. Seeing them play has become a bonding experience of sorts. It’s not very often that L.A. can agree on a band. And, of course, anytime Tsubasa wants to pick up a guitar, I’ll be there with my mouth already agape. The two songs featured on this split are much poppier than the debut 7”—with cleaner vocals and more prominent guitar leads—but by all means good, yet not as good. On the other side are The Irritones. They’re French and feature members of Les Hatepinks. Ultra-snot vocals and over-the-top guitar wanking. For Christ’s sake, they’re called the Irritones! It’s kinda irritating! But if you’re gonna try and track down every Rough Kids record—and I suggest you do—then this record counts as #02.
–Daryl Gussin (Crapoulet, cool@crapoulet.fr)
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ROUGH SEA, THE: : CD-R EP :
Drawn in Crayon: CD-R EP
When I put this on my roommate said, “Is this from Olympia?” because it was cute and trite and twee folky. It easily could be, but you can tell it’s not because there are only three songs on here. Everyone from Olympia knows that you got to put up more effort than that to get Calvin Johnson’s attention. Thanks for sparing me, though. Three was more than enough.
–Craven (Self-released)
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ROUGH STUFF:
Out of Control/Anti Politician: 7"
Average three chord street punk/oi from this Tokyo. The music is just a hair too slow and too remedial for my tastes.
–Donofthedead (Longshot)
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ROUGH STUFF:
Self-titled: 7”
Rough Stuff is an example of a band that makes me feel uncultured to be an American. The group consists of four guys from Japan who sing in English and whose music is released on both an American and a Spanish label. (I barely moved outside of Colorado last year.) With that said, these are two mid-tempo pop punk songs. For what they lack in fierce beat, Rough Stuff makes up for being genuine. Sample lyrics from “Out of Control”: “The council enacts various ban but you don’t care, you’re having fun.”
–N.L. Dewart (Long Shot Music, True Force)
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ROUSTABOUTS, THE:
The Only One: CD
First of all, this is
relatively straight-forward, well-done, melodic and competent street punk.
Sure, maybe a handful of bands have an edge on these guys, but the shouted
choruses and ringing, anthemic chords carry the songs well enough that it
should appeal to any fan of Bombshell Rocks, The GC5, etc. In short, this is
solid enough to own and enjoy several times on its own merits (i.e., I’d keep
it regardless). However, compared to the other shit I’ve sat through for this
issue, this might as well be Strong Reaction for my money.
–Puckett (Haunted Town)
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ROUTINEERS:
Self-Titled: CD
Due to the fact that I adored the band Discount, I often found myself thinking, “I wonder what happened to the rest of the band?” Allison is in the Kills and changed her name to “ceiling fan” or something. Jason went to House of Fire (whose debut EP is a fuckin’ mauler), but what ever happened to Bill, who had dreams of making a zine of him bathing in creamed corn? He shows up in the Routineers, a band with Amanda MacKaye (the lady who started Sammich Records in 1985, has returned the label from a long hiatus, and had put out early Soul Side and Swiz records.) “Thanks for the history lesson, Todd. But what do they sound like?” Like a mix between Slant Six—Amanda’s got a great, clear, forceful voice—and brainy, mid-period DC hardcore (think Rites of Spring more than Minor Threat, if you’re working on a slide rule). Angular, smart, but not afraid to throw some jabs. There’s a lot of indie rock skipping around this, too, but it’s not so bothersome for me since it doesn’t come across the least bit pretentious and the band peels out on several of the tracks. My favorite cuts are when the male and female vocals spring back and forth, like in “Messy Room.”
–Todd Taylor (Dischord/ Sammich)
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ROVO:
Imago: CD
Techno experimentation that has an almost jazzy quality to it, courtesy of at least one of the guys in the Boredoms. It’s not exactly something that makes me want to jump off the walls, but it is interesting to hear someone try to create something new out of a genre that stagnated as soon as it came into prominence.
–Jimmy Alvarado (Sony)
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ROVO:
Imago: CD
Techno experimentation that has an almost jazzy quality to it, courtesy of at least one of the guys in the Boredoms. It’s not exactly something that makes me want to jump off the walls, but it is interesting to hear someone try to create something new out of a genre that stagnated as soon as it came into prominence.
–Jimmy Alvarado (Sony)
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ROWDY DOWNSTAIRS:
Demo: Cassette
There’s something about the overall feel of this band that’s really familiar, but I can’t quite put my finger on it. The best comparison I can come up with is Blatz, but there’s something else that’s very specific that I can’t pinpoint. They’re from Tennessee, so I may have seen people in this band in other bands when I was younger and am picking up on that, but I can’t be sure. Their songs are all played just-faster-than-mid-tempo, but each track is unique and the guitar riffs put in a lot of work on the top three strings and sound distinct. The lyrics are mostly about relationships in and out of the punk scene, and the plainness, naivety, and earnestness in them is endearing. Some of the music feels like the band isn’t synched up quite yet—and the drums could be louder—but I’m really impressed with this as a demo and think this band could do something really great when they settle in with each other.
–Ian Wise (Self-released)
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ROWDY TOWDY:
Self-titled: CDEP
This EP is a bit of an anomaly. They’re essentially country punk, but most country punk bands go in for a gravely or deep-voiced country-style vocalist, whereas here, singer David Groves is rocking the nasally punk rock sound. Each of the four tracks on the record are fairly different; “I Know” is a bass-heavy, traveling, “Ghost Riders in the Sky”-esque tune about running from the cops and making out in abandoned cars, while track two, “The Forest,” seems to be from the perspective of a man who has been turned into a tree. Overall, I’m liking it; hell, I have respect for any band with an upright bass. I’d definitely check out a full-length if they release one.
–Guest Contributor (For Documentation Only)
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ROWSDOWER:
Demo: Cassette
Philadelphia’s Rowsdower brings seven tracks of poppy punk goodness to the table on this demo release. The drums sound like cardboard boxes and the production value is that of a boom box recording, but you know what? That can only help things in my opinion. They do seem to take particular pleasure in using cumbersome song titles, but, hey, I’m not arguing.
–Garrett Barnwell (S.E.P. Tapes, septapes@gmail.com)
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ROXANNE JEAN POLISE:
We’re All Right: 3" CD
Twenty-one-minute industrial drone whose textural changes occur slowly—maybe elegantly—with periodic chimes or very mild feedback and chirps and squeals, all very mellow and non-harsh (harshness being the primary touchstone in noise-as-irritainment evaluation) and packed in a plastic petri dish with what looks like what happened the time I left a box of Crayolas on the back deck of the Plymouth Volare one summer, though it doesn’t smell as good.
–Cuss Baxter (Apop)
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ROXOR:
Obraz Doby: LP
Wow, this is noisy. Roxor are a totally brutal d-beat crust punk hardcore band from Slovakia. If they were from the United States, this would most likely be hugely popular. The packaging here is really great looking, as the record includes a great multipage professionally printed booklet and an 11” x 24” size poster. Aesthetically, it’s dark and “punk” like only hardcore records like this one can pull off. Musically, this is seemingly influenced by the noisier d-beat bands and sounds like it could be from Japan. There are nine songs here, including a Disfear cover (I think). If noisy d-beat crust is your thing, then seek this out—you will not be disappointed.
–Mark Twistworthy (Insane Society, barvak@insanesociety.net, insanesociety.net)
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ROXY EPOXY & THE REBOUND:
Band-Aids on Bullet Holes: CD
1) I love the Epoxies; 2) I have no idea what happened to the Epoxies; 3) This sounds more or less like it could be the third Epoxies album, so, y’know, whatever. I mean, i suppose that the Epoxies sported a more 1979-81 type of new wavery, and this is more of a 1981-84 vertical slice—i.e., more Adam Ant than Adam & The Ants ((although that’s a pretty poor point of reference)), or more MTV than Fridays—but, other than that, it’s still Roxy’s voice, taut and well-separated guitar / bass / drums, and synths which make deep, cerebral farting sounds, so i can’t say as i have a wellspring of complaints on the matter. The opening track, “Walls,” does have a sort of “Gypsies, Tramps and Thieves”-ish 2/4 beat to it ((under all the deep and cerebral synth farts and what-not)), which seems like some manner of subliminal Cher-channeling to me—but, i mean, you’d imagine that if the Epoxies had lived long enough to emit a third album, they would have expended most of their leftover punkarooni anyway, and be more Radio Hit than Nerd Orgy at this point, so what’s the diff? Only thing i find troubling about this record is the absence of one or more “Need More Time” type smasheroonis… which, i suppose, could be fairly troubling to investors. I’ll review my portfolio immediately. BEST SONG: “New Way” BEST SONG TITLE: “This Twist” FANTASTIC AMAZING TRIVIA FACT: I don’t really care for the graphics, and i actively dislike the typography.
–Rev. Norb (Metropolis)
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ROY:
Killed John Train: CD
Mr. Todd Taylor is a clever one. I pop this CD in the player and right there on the first song, the guy starts singing about Reno. That’s where I live! Unfortunately, “Reno, I’m Coming Home” contains a line within that states, “Empty halls with sparse applause yields another bad review.” Err… this does not bode well for Roy. There’s a great, phony album teaser at the end of Built To Spill’s CD, There’s Nothing Wrong with Love, where producer Phil Eck introduces songs that will appear on the next LP. The songs are miles apart from each other stylistically, much like the material on Killed John Train. Country-tinged indie-pop in the vein of Wilco and Neutral Milk Hotel followed by slow alterna-moodiness the recalls Idlewild and Guided By Voices with some early Silver Jews thrown in to allow things to get really quiet. As none of these descriptive terms contain the words “rock” or “roll” or the letter “n,” I didn’t care much for this.
–Josh Benke (Lujo)
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ROY:
Killed John Train: CD
Mr. Todd Taylor is a clever one. I pop this CD in the player and right there on the first song, the guy starts singing about Reno. That’s where I live! Unfortunately, “Reno, I’m Coming Home” contains a line within that states, “Empty halls with sparse applause yields another bad review.” Err… this does not bode well for Roy. There’s a great, phony album teaser at the end of Built To Spill’s CD, There’s Nothing Wrong with Love, where producer Phil Eck introduces songs that will appear on the next LP. The songs are miles apart from each other stylistically, much like the material on Killed John Train. Country-tinged indie-pop in the vein of Wilco and Neutral Milk Hotel followed by slow alterna-moodiness the recalls Idlewild and Guided By Voices with some early Silver Jews thrown in to allow things to get really quiet. As none of these descriptive terms contain the words “rock” or “roll” or the letter “n,” I didn’t care much for this.
–Josh Benke (Lujo)
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ROY:
Tacomatose: CDEP
This song reminds me of sixth grade when I listened to They Might Be Giants all the time. Not fond, campy memories, but how my mom would make me turn it off because it was so fucking annoying. Imagine a whole album of “Birdhouse in Your Soul” complete with grating vocals.
–Megan Pants (Initial)
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ROY:
The Red EP: CDEP
College rock with country twang
around the edges. The more up-tempo songs weren’t too bad, but the
mellow, acoustic shit was about as fun as Chinese water torture.
–Jimmy Alvarado (Crash)
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ROY AND THE DEVIL’S MOTORCYCLE:
Because of Women: CD
Not fucking shabby, kids. These sons of bitches remind me of the Dream Syndicate back when Steve Wynn knew how to write a song (AKA The Days of Wine and Roses. Jesus Christ—my heart palpitates just thinking about that record). What’s really cute about Because of Women is its addition of a couple covers by Chuck Berry and Elmore James, as if you couldn’t spot its influences by the opening track. Seriously, this shit reminds me of Cannery Row and a band covering the Velvets. That’s a goddamn good thing. Probably the best thing I’ve heard since The Gossip covering Aaliyah or Miss Alex White and the Red Orchestra’s debut. Note to Voodoo Rhythm person in charge of sending out albums: send vinyl next time. Had you done that, you’d be receiving the ancillary benefit of me spinning this fucking thing at sordid drinking establishments all over the city of Los Angeles.
Your pal,
Ryan Leach
–Ryan Leach (Voodoo Rhythm)
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ROYAL DRUNK:
Self-titled: CD
This falls somewhere in the gray area between college rock, early Sonic Youth and lo-fi trash punk. If I had to compare them to someone, I guess I would have to say the Vaselines, only with a tighter sound. Interesting at worst.
–Jimmy Alvarado (Slutfish, 327 Bedford Ave. #A2, Brooklyn, NY 11211)
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ROYAL HEADACHE:
Self-titled: Tape
Trite band names deserve trite words. Well, this Royal Headache tape manages to be some really good yet horribly difficult music to listen to, especially the loud and fast beginning song “Girls,” where the recording levels peak all over the place, making it hard to focus on any particular instrument in what sounds like a live recording done with one microphone. Yet underneath that rough lo-fi exterior is some damn fun, foot-thumping garage rock pop tunes. I’m happy with this tape in the way I’m happy listening to people having a really fun and engaging party next door that I’m not invited to. Oh, how I long to hear The Royal Headache in person.
–N.L. Dewart (www.myspace.com/royalheadache)
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ROYAL PAINS:
Get Punched: 7”
This is catchy enough, but I just can’t get into it. On the title track, I can’t tell if it’s a joke (which isn’t sarcastic enough to work) or serious (where it’s kind of ridiculous and on the meathead side of things—“Goin’ out with the girls tonight/ You know there’s gonna be a figh./ Got my brass knuckles in my purse.”). I like the gruff male vocals, and the female’s can be nice but they tend to venture into squeaks in strange ways. I mean, I can love it when it sounds like a six-year-old girl is singing (I love the Grumpies), but here, she sings (and can sing well) at a lower range, but then, for no apparent reason, a mouse weasels its way out of her throat. This is especially true on “Pressure,” which, if not for that, may have been the strongest track.
–Megan Pants (Jonnycat)
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ROYAL PAINS, THE:
Get Punched: 7” EP
Part A Lines: Frenzied, helium squirrel female vocals (which are rad.) Part nail hammered into the trachea, growling male vocals ala Whiskey Sunday. Part Billy Childish: his fingerprints are all over this 7”, and beyond the fact that he produced and mixed it, The Royal Pains’ celebrate musical amateurism and worn kneecap music well-loved by Mr. Childish. Part Triggers: Rotted-out-fillings, lead-in-the-blood stream meanness and “Is it a party? Okay, I’ll piss my pants” feel. Their full powderkegosity culminates on the final song, “Eye on You,” which has become my favorite track, by mixing the cocktail perfectly. Excellent.
–Todd Taylor (Jonnycat)
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