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· 1:Razorcake #82 Now Available | Baby J, (Can Of Beans, Stoned At Heart)
· 2:#336 with Marty Ploy
· 3:#335 with Bryan Static
· 4:Punk Parenthood for the Sleep Deprived 5
· 5:Interview with Dave of Factory Records Store


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Record Reviews

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S.B.V:
Swallow the Pill: 7"
Swallow the pill? I’d rather not. Boring posicore is boring. Also, who thinks a photo of Audrey Hepburn from Breakfast at Tiffany’s has any business being on the cover of a hardcore record? I mean, besides these guys? –Vincent Battilana (Refuse)


S.P.I.C.:
Day Drunk: CD
Pedestrian, punky rock with a singer that sounds like he’s actively avoiding singing in tune. Cute acronym for the band name there. –Jimmy Alvarado (Pop-2121)


S.S. WEB:
North: CD
Country-twanged rock—or rock-twanged country, if you prefer. I prefer neither.  –Jimmy Alvarado (S.S. Web)


S.S.S.P!:
Skinheads Still Scare People: 7”
Oi meets hardcore with good results. It’s tough and really well played. I’d like to hear more. –Ty Stranglehold (Koi!)


S.S.S.P. / NO RESISTANCE:
Split: 7"
Well, the first time I listened to this I may have been a little drunk and confused. I realized the second time around that the record is labeled backwards, so that’s why it wasn’t making sense to me. S.S.S.P. is still doing the oi-meets-N.Y. hardcore thing, leaning more into the hardcore end of the spectrum. They balance it out with a faithful Blitz cover, though. No Resistance was a little more intriguing with their songwriting and singing more than growling. Almost a hint of New York Dolls or something in the mix. I like it. –Ty Stranglehold (Koi)


S.T.P., THEE/ BINGO:
Action: Split 7"EP
Hoo, doggie! Some crankin’ punk rock‘n’roll from two bands I initially thought were one, both of which are apparently vying for the title of Italy’s answer to the Candysnatchers. Some wild shit here that ranges in tempo from overdrive to nitro-injected full-throttle. After being stuck in traffic for more than three hours today, this is exactly what I need. –Jimmy Alvarado (Rapid Pulse)


S.X.R:
Feelings of Expiration: 7”
I really wanted to like this one because I’ve been through Redding, CA, where these guys are from—and know how much it sucks—but they play some pretty boring straight edge hardcore with dopey lyrics and lots of E chords and slow parts and breakdowns and blast beats. They do have a song called “Macho,” which refutes macho bullshit attitudes. I’ll commend them for that. –Craven (Mind Melt, mindmelt.com)


SA90:
Psychopathic Little Girl: CD-R
Sounds like a mix of studio and live recordings from a band that have tell-tale signs they might have roots that go a wee bit deeper than the past decade. There’s definitely the tinge of bar punk to ‘em, which isn’t necessarily a bad thing, but when you least expect it, the band takes on the attack of a band that sounds like it cut its teeth in straight ahead early/mid-‘80s punk/hardcore. I really can’t explain the sound other than to say it’s like dispensing with nuance and “style” and opting instead to assault the instruments. It’s usually evidence that those responsible learned by doing rather than spending hours at home honing their “craft.” This, along with the comparatively primitive quality of the recordings (which are clean but don’t sound like they’ve been ProTooled to death) lends the proceedings some edge and a feel of authenticity. –Jimmy Alvarado (SA90, sa90punk.com)


SABALA BACALA, THE:
W Koncul!: CD
"Pozytywny Przekaz," the third track on this album, opens with a kazoo solo. Kazoo.  –John Mule (Self-released)


SABERTOOTH:
Making Light of a Shitty Situation: LP
This Calgary five-piece made a record that gives one the impression they’re fun to party with. Laced with sound clips and lyrics about being bummed out, bored, and chewing on prison bars, it’s a sloppy/melodic rollicking good time. Gravel vocals and Hot Water Music guitar twiddles. The cover depicts a Saber Tooth toy smoking a cigarette. How could you go wrong? - (Matthew) –Guest Contributor (N.C.J.T., ncjtrecords.bigcartel.com)


SABERTOOTH:
Making Light of a Shitty Situation: LP

I’m not sure why, but listening to this makes me think of the ‘90s and early 2000s. Poppy punk with a hint of melodic hardcore from Calgary, I think it’s the raw Kid Dynamite-esque vocals and the hint of hardcore rage mixed in with the pop hooks in the riffs that made me dig this. If you like your punk melodic but with screamy vocals, this is definitely something you’ll dig.

–Paul J. Comeau (Sabertooth, sabertoothpunk@gmail.com)


SABERTOOTH:
Morning Breath: 7” EP
Poppy punk of a similar strain as bands like Tiltwheel and such. The songs are nice ‘n’ noodly in structure with the requisite gravelly vocals that seem to be all the rage these days. –Jimmy Alvarado (Debt Offensive, debtoffensiverecs.bigcartel.com)


SABERTOOTH SNATCH :
Project Sherm : 7"+CD
A five-song, lowish-fi, jazz-core mini-opera that the producers claim to be about some wacky space adventure of some sort, but sounds to me like it is actually about the life and times of Stephen Egerton. Comes with a fold-out poster sleeve, a CD-R, and a libretto ((well, a piece of folded-over paper detailing the story)) ((which in and of itself is quite amusing and well done)). I hope Project Sherm means a lot to some people. I may not be included in that particular subset of humanity. BEST SONG: “Space Niggas” BEST SONG TITLE: “Red Light Planet” FANTASTIC AMAZING TRIVIA FACT: Shermy, along with Patty and Charlie Brown, were the three characters featured in the first-ever Peanuts strip in 1950. –Rev. Norb (Goin’ Ape Shit)


SABOTEURS:
Self-titled: 7"
Lo-fi art/proto punk with multi vocalists of both the genders. Not very fast, yet surely fast enough to still rock. Sadly whatever this was recorded on doesn’t seem to have had the capacity to capture the entirety of this band, which leaves me grieving what I don’t get to hear. Whatever, that’s just the price of DIY sometimes, and this 7” is still really good anyways. –Daryl Gussin (Commodity Fetish)


SABRE:
Self-titled: CD
Dunno how I managed to be the lucky one (and I’ve got no one to blame but myself ‘cause I’m the silly, optimistic bastard who pilfered it all from the review bins), but it appears that I managed to get this issue’s full ration of sludge releases. Sabre leans more towards the metal end of the spectrum, with vocals vacillating between howling and grunting. They zip along about as fast as two snails fucking, but they ain’t without their charms, I guess. –Jimmy Alvarado (sabreband.com)


SACRED SHOCK:
Self-titled: 7"
Hailing from Austin, Texas and featuring members of Army Of Jesus, this new band impressed me quickly. It hits you right in the gonads as soon as the sound pours out of the speakers. I was overtaken by the energy and felt like I was in the comfort of an old friend. It’s hardcore that is tough as nails, but still retains bits and pieces of melody to add character to the charging music. For a modern day reference, this band reminds me a lot of the Swedish band, Victims. The bands share the same intensity and show a genuine drive. Some bands try to sound like they are trying to play U.S. ‘80s-style hardcore and not quite pull it off. Some bands do it right and sound like a band that came from that time period. I classify this band as the latter. –Donofthedead (Schizophrenic)


SACRED SHOCK:
You’re Not with Us: LP
A lot of the time when I go to a hardcore show or a metal show, afterwards I walk away talking about how blown away I am by how tight, fast, and intense the bands were. My girlfriend usually then will ask if I want to go buy the band’s record and almost always I find myself saying “Oh, no. I would never listen to that at home.” That’s the feeling I get with this record. These dudes probably slay live. The band is supremely solid, plays with epic ferocity, precision, and speed. But, at the same time, you won’t ever catch me pitting in my room to this. For a quick description, imagine if the Husker Dü that recorded Land Speed Record got angrier, louder, and faster over time, maybe dabbled in metal crossover territory, rather than going on to record New Day Rising or Flip Your Wig. As a matter of personal preference, I enjoy the latter more so than the former, which isn’t to say that there aren’t folks out there who wouldn’t enjoy this record. I’m sure some of you are certainly going to salivate all over this, and I might even join you at the shows. This just isn’t going to get a lot of plays on my turntable. –Jeff (Residue, residue-records.com)


SACRILICIOUS:
Seven Songs: CD
More fucking emocore. Wouldn’t have been so bad if the singer didn’t sound like such a whiny prat. –Jimmy Alvarado (New Disorder)


SAD LIVES OF THE HOLLYWOOD LOVERS, THE:
Silencer: CDEP
Decent enough indie pop with liberal sprinkles of ‘80s Brit-pop, loud guitars, and gloominess to keep things interesting. –Jimmy Alvarado (Spinsgood)


SAD STATE OF AFFAIRS:
Self-titled: CDEP
Modern day hardcore with youth crew background vocals and metal guitar riffs. Are you tough enough? –Donofthedead (Spook City)


SAD STATE OF AFFAIRS:
Self-titled: CD
Modern day hardcore with youth crew background vocals and metal guitar riffs. Are you tough enough? –Donofthedead (Spook City)


SAD TROPICS:
Everything Was Beautiful and Nothing Hurt: CDEP
Full disclosure: The drummer of this band got me into punk rock, the singer/guitarist’s former mother-in-law was my eighth grade science teacher, and the bass player will, to me, forever be twelve years old. That being said, this is the Indiana-based band’s first release. It’s a six song EP, with one of those songs being a bonus track (a cover of a song by the singer’s solo act, The Rutabega). The band is a three piece with the bassist also doing some background vocals. Although the band states their influences range from Minor Threat to Redd Kross and the Flaming Lips, it’s much easier to hear the Flaming Lips than the other bands. This is total pop with a lemony twist of intelligence (take that, generic emo band of the month!) with much of the album focused more on ideal songwriting and less on energy and punk-inspired mass mayhem. Thus, the clean recording and engineering really emphasizes the band’s music. Having known the band members’ previous acts—singer/songwriter, math rock, atmospheric alterna-rock—Sad Tropics seems like the logical next step in the musical lives of these individuals. The sound may be too unsoiled for most readers of this zine, but the hooks and catchiness of the choruses really shouldn’t be lost on any fan of the poppier side of punk. –Kurt Morris (Self-released, Sad Tropics, www.myspace.com/sadtropics)


SADDAM’S ANGELS:
We’re Saddam’s Angels and You Suck: CD
One original and three covers—Black Flag, Skrewdriver and the Canadian Subhumans, respectively—recorded live in San Francisco, apparently intended as an attempt to bunch up the underwear of the PC-punk brigade. While such an act is akin to shooting whales in a glass of water, and it would’ve been nice to hear more original tunes, this was still a hoot. –Jimmy Alvarado (www.maltsoda.com)


SADDLE TRAMPS:
Nashville Swinger: CD
Wait'll the big guns get a whiff of this one. The Saddle Tramps are on par with legendary gold-standard groups like BR5-49, Bastard Sons of Johnny Cash, the Derailers, Shaver, the Paladins, and the Blasters—well-balanced and well-written country rock. Capable of pounding out spaghetti westerns, blistering psychobilly, and Mariachi/ Norteño-infused country (Tex-Mex), the band rounds out their sound with a light-hearted wit similar to Robbie Fulks and the swaggering confidence associated with Twistin' Tarantulas. Snicker-inducing titles include: "How Can I Say I Love You (with a Shotgun in My Mouth)?" "My Dick's Too Big," "Cotton Pony Express," and "(You Put the) Cunt in Country." They've also thrown in a surprising cover of the Vandals' "Susanville." Live with three studio tracks. –Jessica Thiringer (Split 7)


SADE, THE:
II: CD
As soon as I pushed play on this CD and the beefy, Italian horror rock blasted out of my stereo, I became a fan of The Sade. It’s tough being a fan of horror in music. The majority of it is unoriginal Misfits rip-offs by people who haven’t bothered to scratch the surface of the horror genre. The next CD in my review pile has an Army of Darkness tribute cover and I’m just dreading it. Yes, I love Army of Darkness and the Evil Dead movies, but you can’t imagine the number of dreadful songs I’ve listened to about those flicks. There’s so much more to the horror genre than Ash and Misfits style “whoa-ohhh”s, and The Sade proves it. The second song on this CD is a howling tribute to a short story called “The Werewolf” by Angela Carter. It’s rare for a band to tip me off to a horror story I don’t know, so I’m impressed. But it takes more than a solid understanding of the genre to make a good record. The shit still has to rock. The Sade does, without getting sucked into any of the clichés. This is full-on rock, with deep, driving vocals and machete-swinging guitar solos. Oh, but check this out: By the third song, they’ve introduced an eerie string section that adds a perfectly gruesome touch without detracting from the direction of the track. Halfway into the record, they also throw in some insane tenor and soprano sax solos. It’s fucking wild. But they don’t abandon all the traditional tools either. In the second-to-last song, they whip out some of the most effective “whoa-ohhh”s I’ve heard in a while, and then they close out the record with an acoustic country stomper that puts the best of the psychobillies to shame. I’m going to listen to this CD a lot.  –MP Johnson (thesade.com)


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