 |
|
|
|
|
| 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. | |
|
|
|
|
|
| | 
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
RAMONES:
Adios Amigos: CD
It was a bit tough listening to this, the last studio album the Ramones will ever release. I’ve been living in a little bubble of denial for years now, avoiding buying this or listening to any of it, as if my ignoring it would change the fact that one of my favorite bands of all time is now but a beer-soaked memory. But you gotta face everything sooner or later, I guess, and this is as good as any to say goodbye to one of the musical pillars upon which was built my youth and subsequent adulthood. By the time this album hit the stores in 1995, the band members had had about enough of each other. Joey and Johnny hadn’t talked to each other in years, and CJ and Marky had apparently developed a rift of their own (as evidenced in the bonus track, a cover of Motorhead’s “R.A.M.O.N.E.S.,” wherein CJ changes one line to “Marky takes it up the ass”). Still, they managed to crank out one last album of new tunes. Some really good work is put down here—a cover of Tom Waits’ “I Don’t Wanna Grow Up,” the bittersweet (and evermore poignant considering he lost his battle with cancer a few years after this was released) Joey-penned “Life’s a Gas,” “Scattergun,” and “Making Monsters of My Friends”—and CJ gets even more involved in the proceedings, penning a couple and singing roughly half the songs on the album. While it may not be the greatest album they ever recorded, it is one of the better ones of the latter period of their run, and definitely a nice way for them to head noisily off into the sunset. I loved ‘em and I will truly miss ‘em.
–Jimmy Alvarado (Captain Oi)
| |
|
RAMONES:
Brain Drain: CD
As the 1980s came to a close, it seems the brudders had pretty much run out of both steam and ideas, as evidenced by this album, which is eighty percent filler with some true Ramones gems imbedded here and there. The proceedings start off on a high note, with “I Believe in Miracles,” one of the best tracks they managed during Reagan’s tenure. From there, however, it’s a five-song trudge to the next oasis, “Pet Sematary,” written for the Stephen King movie of the same name. Three songs later, up pops one of the thrashers they developed a fondness for writing during the period, “Ignorance Is Bliss,” followed by a rather pedestrian rocker, “Come Back, Baby,” and then it’s over. Ironically, it’s a novelty bonus track tacked onto this reissue, “Merry Christmas (I Don’t Want to Fight Tonight),” that provides the most Ramonesy song on the last release to feature three of the four original members. It would’ve been a sad ending, indeed, if this has been their last word, but after this was recorded, Dee Dee was out (although he continued to write for the band right up to the end), CJ was in and the ‘90s were on the horizon.
–Jimmy Alvarado (Captain Oi)
| |
|
RAMONES:
Mondo Bizarro: CD
Dunno if it was the arrival on the scene of the young CJ or the promise of a new decade, but after the lackluster Brain Drain, the boys came roaring back with this album to suckerpunch those who began mumbling that maybe the Ramones had reached the end of the road. Like a mirror image of the preceding album, this release is a solid effort, short on filler and long on ball-on rock’n’roll, not to mention some class-A songwriting. Joey offers up the opening salvo, “Censorshit,” a bomb leveled at former Mrs. Vice-President Tipper Gore and her gaggle of Washington wives, the PMRC, who in the late ‘80s/early ‘90s were out to impose limits on free speech under the guise of little “parental advisory” stickers on music releases deemed “objectionable” (in one of history’s great ironies, the stickers actually helped the releases tagged by giving them “taboo” credibility and boosting their sales). From there it’s a veritable grab bag of late-period classics: “The Job that Ate My Brain,” “Poison Heart,” “It’s Gonna Be Alright” (a thank you to their fans), “Main Man,” “Tomorrow She Goes Away,” “Heidi Is a Headcase,” and “Touring,” a nod to both where the band had been, musically and literally, and how they got there. Added on here as a bonus track is their take on the “Spiderman” theme, icing on an already amazing cake.
–Jimmy Alvarado (Captain Oi)
| |
|
RAMPANT BAND:
Breakthrough/Breakdown: CD
Pretty standard alternative radio rock. It’s not that bad, but most of the songs are so long (there’s only one under three minutes, one over eight) that I had trouble paying attention after a little bit. Don’t get me wrong, it’s not that I demand everything be all short, but if you’re going to go this route, take the Superchunk route and have really strong, catchy riffs that you play the hell out of.
–Joe Evans III (Self-released, myspace.com/431038819)
| |
|
RAMROD:
Self-titled: CD
This type of punk doesn’t typically do it for me, but I’ve loved this band for a while. Bowie, Maryland’s Ramrod do a Fat Wreck skate rock type thing, which comes out sounding a bit like No Use For A Name, Lagwagon, NOFX, etc. That isn’t quite the description I’d like to use (they’re better than that), but it’s the closest I can get. Dual vocals, frequent tempo changes, and above average drum and string skills can be found all throughout the well written songs on this record. This follows up the Junk Rock EP that was released early last year. Check this out as soon as possible.
–Dave Dillon (Cunt)
| |
|
RAMROD:
Joy of Elaborate Yawning: CD
Full-tilt hardcore from these young upstarts from Bowie, MD. (Old or New Bowie, boys?) I have seen them live twice and I think their drummer creates new electrons with each beat—he plays that fast. Without even hearing them, I predict if you like the following song titles, you will dig them—“Tuna in a Can,” “HamburgerCollege,” and “At War with the Deli Man.” But they also have some pretty intense instrumentals too. Good stuff.
–Sean Koepenick (Cunt)
| |
|
RAMRODS, THE:
Gimme Some Action: CD
The best that I can figure, the Ramrods were evidently a Detroit band from the 1970s who sounded a hell of a lot like Iggy and the Stooges and even played covers of some of their songs as well as ones from the Beatles and the Who. For some reason, someone thought it would be a good idea to release this album of their music (including the covers) over twenty-five years later. I have never heard of the Ramrods. Why anyone thought this would be a good idea is beyond me. The audacity to sound a lot like the Stooges on your original stuff (except not quite as punk) and then cover them seems pretty incredulous. Recommended only for music fans stuck in 1970s Detroit.
–Kurt Morris (Young Soul Rebels)
| |
|
RAMSHACKLE GLORY:
Live the Dream: CD
Honestly, I really don’t care for “folk punk” all that much. Most of it comes across as either too discordant (some acoustic jerkwad crooning nasally) or—the opposite end of the spectrum—cutesy (some acoustic jerkwad crooning nasally about, say, dumpster diving), there’s a few bands that avoid all the pitfalls and just rule. The Taxpayers are one, The Wild’s another. They—and, as I just found out, Ramshackle Glory—are doing stuff that’s couched in folk sensibilities, is also smartly political without sloganeering, and still rock out pretty goddamn hard. Combining instrumentation as varied as banjo, piano, saw and violin, as well as the usual armament, Live the Dream’s got a great thing going on here. When done poorly, folk punk is some wincingly bad stuff. When it’s done well, the songs are as moving as any more “standard” punk anthem. This is a good record.
–Keith Rosson (DIY Bandits)
| |
|
RAN:
John Says: 7”
There was a time early on with Down By Law where I’d given a lot of faith to them. It’s too bad that they became a band who went on to shit the bed over and over again—musically and as people—so much so, I find it hard to listen to songs that I once swore an allegiance to. Ran resurrect some of those early feelings I had for DBL: earnest singing, urgent playing, a watershed of familiar sounds somehow re-energized with interesting cuts and twists of their own. Think of early Dag Nasty and Double Image-era Marginal Man. Right about there. Not quite as good, but not bad at all.
–Todd Taylor (Snuffy Smile)
| |
|
RANCID HELL SPAWN:
Abolition of the Organism: 7”
Rancid Hell Spawn is back! This is the first single from the newly reformed U.K. band. The older punk crowd who were around in the early ‘90s will certainly be familiar with their noisy and distorted blasts of weirdo punk noise, and this new four-song EP pretty much picks up right where they left off. Back in the ‘90s, they were a really prolific band that didn’t really fit in with any specific scene, in my opinion. In 2012, I could see them fitting in perfectly alongside some of the oddball noise rockers on the Load Records label, or maybe even wouldn’t find them so removed from the A Frames or the other bands with ties to SS Records. Recommended.
–Mark Twistworthy (Wrench, wrench.org)
| |
|
RANCID HELL SPAWN:
“Abolition of the Orgasm”: 7”
I knew this was going to suck from the moment I saw the horrible, slapped-together design featuring photos of trans women and a contortionist lady that a very out of touch Mr. Spawn found by googling “weird.” I was right. This is shitty, guy-in-his-basement, distorted noise-punk by the kind of guy who names his “band” Rancid Hell Spawn. By that, I mean some guy who gets positive reinforcement from every bad review, thinking he’s doing something edgy and subversive. Nope... sucks!
–Craven (Wrench, mail@wrench.org)
| |
|
RANCID VAT:
The Cheesesteak Years: CD
Pretty typical redneck rock’n’roll here. A genre of music I’m akin to. However, this doesn’t do much for me. It’s not that it’s bad, it’s just not that good. There is nothing to reel me in and make me start tapping my feet or bobbing my head. Sounds like a second rate Antiseen.
–Toby Tober (Steel Cage)
| |
|
RANCID VAT:
We Hate You All the Way from Texas: CD
These white trash motherfuckers hate me all the way from Texas. But I hate Texas, so everything kind of evens out. The music has a thrashy, power-chorded barbecue flavor. In fact, yes, I am going to compare them to barbecue sauce: sometimes you love it, sometimes you hate it. They say they’ve been around since ‘81, and you would think they would have perfected a Ramones cover over that time, but instead they butcher it with just enough reverb on the vocals to fuck it up, although they make up for it with track six, “I’ll Never Make It Out of This World Alive.” All in all, this album isn’t all that bad. Gabe Rock
–Guest Contributor (Steel Cage)
| |
|
RANCID VAT:
Vs. the Rest of the World: CD
Double disc set celebrating the band’s twenty-five year career. A feat indeed for any punk band, and especially one like Rancid Vat which revels in degradation, intoxication, and flatulation. Guest appearances by the Wipers’ Greg Sage and Poison Idea’s Pig Champion (both battle it out with their respective guitars on the scorchin’ cover of the Elvis Presley tune “Trouble”). Other covers include Alice Cooper, David Bowie, and the Sonics, which shows you just how far and wide this band’s influences are. Hell, they even thank wrestling kingpin Ric Flair and long schlong porn star John Holmes!
–greg (Steel Cage)
| |
|
RANCID VAT:
Crybaby b/w Strychnine: 7”
Pretty good punk rock that’s endearingly sloppy in a Rip Offs kinda way, but heavier and more rock. What else would you expect from Phil Irwin (AKA Thee Whiskey Rebel) and his wife? “Crybaby” is quite catchy for a band often lumped in with the Confederacy of Scum bands, but bands really shouldn’t insist on performing Sonics covers unless their lead singer wears vinyl suits. –Not Josh
–Guest Contributor (Casual)
| |
|
RANCID VAT:
The Cheesestake Years: CD
Pretty typical redneck rock'n'roll here. A genre of music I'm akin to. However, this doesn't do much for me. It's not that it's bad, it's just not that good. There is nothing to reel me in and make me start tapping my feet or bobbing my head. Sounds like a second rate Antiseen.
–Toby Tober (Steel Cage)
| |
|
RANCID VAT/HAMMERLOCK:
Split: 7”
Rancid Vat: A loud, rude, swaggering punk rock anthem for every schmo who’s ever had to work a shitty job. Hammerlock: An equally rockin’ homage to Thee Whiskey Rebel, who happens to be the bass player for the former. One hot piece of wax.
–Jimmy Alvarado (Steel Cage)
| |
|
RANCID VAT/HAMMERLOCK:
Split: 7"
Rancid Vat: A loud, rude, swaggering punk rock anthem for every schmo who’s ever had to work a shitty job. Hammerlock: An equally rockin’ homage to Thee Whiskey Rebel, who happens to be the bass player for the former. One hot piece of wax.
–Jimmy Alvarado (Steel Cage)
| |
|
RANDOM CONFLICT:
Invisible City: CD
Exploited-influenced oom-pah-oom-pah punk from a band that has been around a while, if memory serves, and this isn’t another case of thirty bands with the same name. That said, few things warm the heart more than a circle A in the band’s name on the front of the disc and a copyright on the back. Almost as good as wearing a “Meat Is Murder” shirt while lunching at McDonalds.
–Jimmy Alvarado (www.randomconflict.com)
| |
|
RANDOM CONFLICT:
Annihilation Generation: CD
(Stereo)typical punk fodder that covers all the usual bases. Performances are on-point, if a little lackluster. I know these guys have been around the block a good while, and I may be unfairly expecting more from ‘em, but I wish there was a bit more oomph in their delivery ‘cause it feels like they’re just going through the motions here.
–Jimmy Alvarado (randomconflict.com)
| |
|
RANDOM CUTS:
Rat Capacity, Sleep, Make Damage : 7"'s
Postpunk meets no wave somewhere in the middle and the results are pretty good. Not some mere retro act, Random Cuts use the past as a foundation and build something of their own on the ruins. Catchy rhythms, despite being minimal, set everything in motion, with guitars that are discordant without being obnoxious or forced. The first single, “Rat Capacity,” is the most subdued of the three. The second single, with the A-side, “Sleep,” is the dance party hit. More sonic, and the vocals are more direct and in your face, so to speak. However, the most interesting song of this whole set is the B-side of “Make Damage,” which is “PigeonPark,” where Mildred Smith takes the vocal duties. The pace is lurking, the vocals have a withdrawn quality, and the repeating of “There’s a weirdo on the corner” puts things in a very different light. I recommend getting all three singles at once. Doing so, you can listen to the progression of music on each one. The first is more bare bones, and the other two start to fill in the open spaces without losing any of the edge. Seriously good stuff.
–Matt Average (Nominal)
| |
|
RANDOM ORBITS:
Heart Attacks: LP
These guys are partial to mainline, Fat Wreck-fueled punk, but that’s not a horrid starting point to build off of. If Lagwagon was a little less focused, they’d be Random Orbits. There are way too many weird guitar solo-ish licks thrown in, but the songs are otherwise palatable enough. I like the incessant we’re from Washington state theme that permeates Heart Attacks, including the imprint on the sleeve that reads, “Northwest or Get Fucked.” Definitely the kind of band that could get big quickly, Random Orbits aren’t trying to reinvent the wheel. Now that’s punk!
–Art Ettinger (La Escalera, laescalerarecords.com)
| |
|
RANDUMBS, THE:
It’s About Time…Again: LP
For some reason, I thought this was a pop punk band because the name sounded familiar. Then I looked at the cover, and thought this was going to be some Crass-but-not-quite style band. Then I listened to it, and it kinda sounded like Against All Authority without the horns, and little edgier/gruffer. Let’s leave it as I was half right on both accounts.
–Joe Evans III (More Smart Than You)
| |
|
RANDY:
Self-titled: 7”EP
Sweden’s Randy has the knack of melding Chuck Berry riffs, serious leftist politics and slathering it with infectious pop and catchy choruses while updating the themes to keep them entirely relevant in the now. That’s a tough gig because a.) most leftist politics is as boring as watching your tire tread slowly wear away b.) most leftist politic bands have a kindergartener level of comprehension or are near-impenetrable pretentious assholes. Randy avoid all that. In fact, if they were an instrumental band, I’d still dig ‘em. Turn of the century anarchist, Emma Goldman flatly rejected the idea of joining a revolution that she couldn’t dance to. She’d dig Randy. Revolution with a circle pit. Revolution that makes you want to read books along to. Two of these songs are on their new album (slightly different versions), Human Atom Bombs, which I highly suggest. Cool piece of butterscotch colored wax.
–Todd Taylor (Fat)
| |
|
RANDY:
You Can’t Keep a Good Band Down: CD
There’s something strangely refreshing about a Randy CD in the sense that they sing all of their songs about anarchist revolution, striving for economic equality, breaking the chains of big business, etc., but instead of slamming it into your head with a wall of sound and anger, they burrow a groove into your brain and let the ideas settle into the grooves. It’s a nice change of pace for someone like me, who spends so much time listening to walls of sound and anger. This is the second album to come through the Razorcake mailbox in the past few months, so I’m assuming that either this or Randy’s Human Atom Bombs (on Burning Heart Records) is a reissue because there’s a subtle departure between the sound of the two. Whereas Human Atom Bombs is heavy with the fifties rock’n’roll, You Can’t Keep a Good Band Down carries on more of an early-Clash tradition and filters in weird Queen snippets. Those snippets are kept to a minimum, though, and when you listen to the album as a whole, it’s easy to move beyond them. And even if this album isn’t as cohesive as Human Atom Bombs, Randy makes singing about a revolution so much fun.
–Sean Carswell (G7 Welcoming Committee)
| |
|
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 | 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 > | |
|
|
|
|
| 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. |
|
|
|
|
|
|
|
