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Below are some recently posted reviews.

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Runnin’ Scared: LP
Breakdown were one of those bands whose influence has always been heard more than their actual music, due mostly in part to the fact that their early output consisted of two demo tapes and four tracks total on the late ‘80s comps NYHC: The Way It Is and Where the Wild Things Are. Breakdown’s talent was overshadowed by other bands in the scene that were able to put out records in the late ‘80s (Warzone, Gorilla Biscuits, Agnostic Front, etc), but that doesn’t make them a bad band. The younger generation might remember singer Jeff Perlin from his time in Slumlords, but his younger years (these recordings specifically) were spent contemplating more serious issues and making music a lot more stripped down. These songs are sourced from the band’s second demo tape, recorded in 1987, as well as a live set from WNYU in ‘89 that sounds better than expected. There are two more tracks from an unreleased session in ‘87 that are just alternate versions of other tracks and I didn’t really feel are needed, but I’m certainly not going to complain about extra stuff being thrown on top of what you’re already getting here. I’ve always had an affinity for the NYHC recordings that were a little rough around the edges (like Warzone’s Lower East Side 7”, the Life’s Blood 7”), and this record falls nicely into that category. This record works because not only is it a document of something falling into the obscure side of a certain scene for collectors and completists, but the songs are good enough in their own right to warrant getting a proper release.  –Ian Wise (Painkiller)

Música Sin La Intervención De Cristo: LP
Boom Boom Kid are one of the few punk bands to take musical risks anymore. Even more impressive is that the risks they take turn out successfully. Primarily pop punk, but they sometimes go into grind, hardcore punk, then folk style songs like “Como Empezar...El Despues,” or really super pop that hearkens back to mid-1970s AM radio fare, like “I Do.” Then there’s a song like “Pon To Corazon El La Musica” that brings to mind late 1980s / early ‘90s Dischord bands like Fugazi and Jawbox. If the syrupy sweet “Si Esas Paredes Hablaran... Maria Ojos Negros No Mas” doesn’t stick in your skull and put a smile on your face, then you might be dead. Or just an asshole. The mood is light, the songs are catchy as hell, and played with nothing but heart. This LP is a collection of songs from all their previous releases. Obviously, a good jumping off point. I know I’m going to start searching out their back catalog. This stuff is great, and will get many repeated listens.  –Matt Average (SPHC, sphc.bigcartel.com)

Johnny: 7”
If you miss The Epoxies like crazy (like some of us do), the song “Johnny” is going to make you a very, very happy listener. (Searching the interweb and my own facial recognition program, while not official, I’ll posit that at least one member was in that band.) Female-fronted pop punk fueled with swirling keyboards and a driving beat. “Alien Eyes” delivers a similar track with more ‘80s-styled guitar histrionics and “Don’t Wanna” winds it up with a whirlwind pop tantrum. “Destroy the Heart” left me a little cold with its more mid-tempo ‘50s approach, but you won’t be disappointed if you spend a few of those blood donation dollars on The Bloodtypes.  –Matt Seward (Bomb Pop)

Tree & Bird: 7”
This formerly of L.A. and now residing in Portland two-piece has matched, if not improved on, their previous self-titled 7”. On Tree & Bird’s two tracks, Rachel Lynch riffs around with garage punk chords and shout-sings just under the throat-wrecking level, calling out her connection to the natural world outside of mega-jumbo urban areas. And, yeah, we all love cities (bars, busses!), but cities also have gross plastic bags screaming in the trees and exhaust coating all of your possessions, so between knowing intuitively that cities are kinda gross and hearing the raw sparseness of Blood Buddies songs, lyrics like, “If you’re looking for me / If you’re lost / If you really need me / I’m on a mountaintop” become simultaneously alarming and catchy. In the absence of second guitar or a single bass, all that remains is great songwriting: hooks, sharp edges, and the slight shock that hits you when you hear uninhibited rock for the first time in a long time.  –Jim Joyce (Ghostbot)

Sore Subjects: 7”
RI’s Best Practices return with four tracks of power pop meets garage punk with an edge. It’s a sound the band first developed on their previous The EP LP, which I reviewed in an earlier issue and thoroughly enjoyed. Everything I liked about their previous release is present on Sore Subjects, from the tongue-in-cheek lyrics and song titles, to infectious riffs that get you rocking out even while sitting down. At first I thought the production on this sounded a bit muddier than their previous recording, but when you crank up the volume on the stereo, it makes it feel like the band is there playing in your living room, and I enjoy the pseudo-live feel.  –Paul J. Comeau (Tor Johnson)

Here Comes Trouble: 7” EP
The Bedlam Knives sound like the legendary Los Angeles punk staple X. If you are a moron, allow me to translate: The Bedlam Knives sound fucking rad! Doug Kane (aka Doug Dagger), formerly of Schleprock and The Generators, has a velvet smooth voice for a punk rock singer, but it works here. Bass player, Chalon Harris, plays the worthy Exene to Doug’s John Doe, providing companion vocals with a wide range, from sugar sweet to switchblade slashing. The rest of the band kicks ass here too: a more than solid rhythm section and dual guitars playing riffs that would do any red-blooded American or two-wheeling, leather-clad rebel proud. Rock and fucking roll!  –John Mule (Dr. Strange)

Bras: CD
Bad sports bras are a funny concept. All sports bras are bad in my opinion; it’s a very unflattering look that’s all business. I’ve seen these guys’ name around for a while (this is their third LP) but hadn’t come around to listening to them until I received this CD. Bras was produced by Mark Ryan and Jeff Burke from the Marked Men and if you’re into them at all, you’ll love this record. This is a great punk rock record with a poppy, upbeat sound. The songs are catchy and fun with no bullshit messages or preachy opinions, just a good time. There’s a little bit of everything on here from power pop to ‘70s punk. If you like the ‘70s CBGB’s sound, old Posh Boys bands, and Dirtnap bands you’ll love this record.  –Ryan Nichols (Dirtnap)

Split: LP
Autonomy: Great blend of politically astute sentiment and post-punk attack. The songs gel and bounce with bubbling bass runs and hypnotic guitar lines one minute, then things get nice and dissonant the next, closing with a righteous cover of the Wipers’ “Doom Town.” Standing here slack jawed and amazed as I flip this puppy over.... Doom Town: Thought Autonomy might have these kids on the ropes, but they more than handle their business here, with that dark-tinged thud punk sound they’ve honed so well on previous efforts still serving ‘em well. Gloomy but not goth, meaty but not meathead, and saturated with sophistication in its wiggly bass lines and chord runs. The final tally: A solid draw, making this a faboo split.  –jimmy (Trend Is Dead)

Don’t Look Back in Anger: CD
Sorry to the boys in the band, but I can’t listen to Atlas Shrugged without looking back in anger. Note: The following review has more to do with the reviewer than the reviewee. I remember when bands like this were everywhere in the Inland Empire, where I grew up. My friends would ask, “Hey, wanna go to a show tonight?” And I would say, “Cool, who’s playing?” And they would say, “[All male band with running shoes and basketball jerseys that screams a lot about friendship.]” Not wanting to be left at home alone on a Friday night, I would go, with my head down, looking out of place with my U.S. Bombs or Clash T-shirt on. No one at the show would talk to me, and I would probably get punched in the head while someone with ironed hair and a lip ring was “dancing.” That guy would like Atlas Shrugged. The singer sounds like a Beastie Boy. Now that my review is over, I am going to watch Beastie Boys videos on YouTube and try to get over this re-living of my late teens. Fuck the Inland Empire.  –John Mule (Trip Machine Laboratories)

Hold Your Ground: CD
No apologies street punk from down south. The singer was in a short-lived skinhead band called Vibram 94 who I really liked and the bassist once had a drink with one of the members of Bad Brains, or did something with them and has dreads. This is straight-up-the-line Street Dogs, Workin’ Stiffs blue-collar vibes. Gang choruses, smart production, four tracks. I was more than happy to start hating, but this is boss, especially the last track, sounding like a street punk Stitches meets Pennywise. There are some heads here at Razorcake HQ that would love this shit. Jimmy?  –Tim Brooks (Antagonizers, antagonizersatl.com)

“Greyed Delay” b/w “The Swell”: 7”
Holy shit, these guys are gnarly. If I had to describe this record in one word it would be “heavy.” The cover is a photograph of a desolate Midwest-looking winter while the back looks to be the same spot during spring. If I had to guess, I would say that these guys recorded this record during the cover photograph and released it when the back happened. These two songs both seem to be about the weather—dark, grey, cold weather. I hate any weather below seventy degrees; if I had to live in the snow, I’m sure I would make music this pissed off too. Check this record out if Folgers isn’t working for you.  –Ryan Nichols (Nervous Habit, nervoushabitrecords@gmail.com, nervoushabitrecords.storeenvy.com)

You’re Nothing You’re Everything: 7” EP
Massachusetts punks Ancient Filth are back with their second 7” of raging hardcore. As with past releases, the music is one brutal assault after another in the honorable tradition of past MA bands such as Out Cold and Cut The Shit. Lyrically, however, they have much more to scream about than the typical fare of “stabbed in the back” betrayal stories or suburban lethargy and disillusionment. Ancient Filth encourage us all to give a fuck, if not for the sake of others then for the sake of ourselves: to agree to disagree, to call out bullshit (organized religion, capitalist oppression) when necessary, and to question not only our country but our world: “believe nothing, examine everything.” All this without pretense or a high-and-mighty stance on the issues they feel strongest about. The artwork and packaging is, once again, stellar: a booklet sleeve with the lyrics printed on a separate inner booklet stapled in the center and a huge fold-out poster, to boot. Can’t possibly say enough good things about this band. Get this or die posing.  –Juan Espinosa (Ancient Filth self-released, ancientfilth.com)

Demo: Cassette
Gruff punk that at its best sounds like the Brokedowns and at its worst sounds like one of those bands on a BYO Records comp that no one ever bothered to buy records from. It’s listenable, but nothing you’ll be jonesing for. For a demo, though, this shows a lot of promise. Grade: B.  –Bryan Static (Self-released)

Transgender Dysphoria Blues: LP
On New Year’s Eve I showed up to a party my boyfriend at the time was reluctantly throwing. I walked in to find a fog machine raging as hard as the guests and upping the ante on the dense pea soup already outside. Between that and wisps of cigarettes, I saw him dancing in the soft glow while the little black dress he was in struggled to catch up with his moves. “Are you freaked out that I’m wearing a dress?” he asked. “No. Are you freaked out that I’m not?” was my response and he proudly went back to being unabashedly himself. Laura Jane Grace and crew are doing the same thing on this new record, only they’re not asking anymore. Against Me! are taking the piss out of gender roles and quickly show you what it’s like to have to live day to day as someone you’re not. This album aims to get under your skin no matter where you stand on trans-acceptance. With lyrics like “They just see a faggot / They hold their breath not to get the sick,” hopefully you feel as dehumanized and fed up as she does. “Drinking with the Jocks” is the angriest track and the shortest—very straight and to the point. It is the perfect coming out song: abrasive to those who don’t understand and appealing to anyone who’s been fucked with for being who they are. To me, that’s as punk rock as it gets. Quite a few friends I know through music have come out as transgender in the last year and their actions are creating a positive shift in those around them. Musically, this record is their best since Against Me! as the Eternal Cowboy and almost makes up for White Crosses and New Wave. And for those who’ve been wondering, her voice hasn’t changed; it’s only gotten stronger and lent itself to many of us struggling with identity.  –Kayla Greet (Total Treble)

Presumed Insolent: CD
Leapin’ Lasagna Luigi—here they come again with another airtight record. Rippin’ solos, cool harmonies, and killer tunes make this a great listen. Everyone sounds on their game here. “Forever Summer” and “Riptide” alone are back-to-back scorchers. Don’t pass this by just because it’s not their debut. The Adolescents are still making quality punk rock with fire down below.  –koepenick (Concrete Jungle)

Vesuvio Nights: LP
Every song sounds the same, which is like shit. Dude’s voice is drowned in reverb, and some shitty, spooky Johnny-cum-lately weak ass garage backing it up. The fact that this is a solo project leads me to believe that this guy is just an annoying as his music.  –Vincent Battilana (Speakertree)

Rabid Moon: LP
What are your thoughts on Stray Dog Town by Bent Outta Shape, Detention Halls by Ringers, Light and Vision by Homeowners, or A History of Rats by This Is My Fist? If you consider yourself a fan of any of those records, then I highly suggest picking up Rabid Moon. I’ve been listening to this record constantly for over six months and it’s only gotten better over time. If you’re in the market for a record bursting with melody via male andfemale vocals, deliciously sick guitar lines, and heart-felt songs, get Rabid Moon.  –Daryl Gussin (Protagonist / Adagio830 / California Casual Cruiser Club)

Self-titled: LP
Track after track of unrelenting powerviolence up to code with Canadian juggernauts Column Of Heaven and the mighty Despise You. In recent years, the powerviolence genre has flourished with new blood from all over the world. It could easily be a full-time job keeping up with the attention-worthy bands. Lucky for us, To Live A Lie is becoming more and more of a reliable authority in putting out the goods. If you miss Threatener, give your boys in Abuse a holler.  –Juan Espinosa (To Live A Lie)

What’s Inside You!?: LP
This horribly corny, self described “glam-punk” record from Germany has a bit going for it, but 2nd District seems to be striving for a commercial sound simply for the sake of it. Perhaps that’s a snap judgment, but from the overproduction on down, there is an obnoxious quality to this that is just plain grating, especially the eunuch-ish vocals. It’s as if years of being made fun of egged these guys on to come up with something worthy of being made fun of. 2nd District is the sort of group you’d see in a TV representation of counterculture, wondering if it’s a real band or a group of actors pretending to suck.  –Art Ettinger (Wanda)

The Beat Goes On!: CD
I can’t imagine that the Wife Beaters didn’t know what they were getting themselves into when they chose their band name. It certainly started an internal conversation on my part about what it was that so thoroughly disgusted me about the name and the whole “punk as controversy” aesthetic. The whole mindset ultimately equates to undue attention for uncreative decision making. It’s easy to be crass without a purpose. There’s no grand subtext to the Wife Beaters persona, or any value in its aggressive “Come at me” nature. If the Wife Beaters didn’t have an offensive name and atmosphere there wouldn’t be much to note about them. The music is generic Ramones/Social Distortion sound-a-likes. It’s very clear that the Wife Beaters don’t give a shit what I think or what anybody thinks. Well, great, because this album is shit and you should all feel bad about the decisions that got you to play in a band called The Wife Beaters. Grade: F.  –Bryan Static (Self-released, thewifebeaters.co.uk)

Modern Day Meltdown: CD
With a band name like Voice Of Addiction, I was expecting an ‘80s straight edge youth crew throwback band. Instead, this Chicago trio offers slick, modern punk rock with two vocalists: One who often sounds like Greg Graffin if he blew out his voice to give him a raspier edge, and another vocalist with a higher-pitched, cleaner-sounding voice that sounds so very atypically Chicago punk rock. This four song CD isn’t bad, but it isn’t necessarily good either. Musically, there’s a rock edge that turns me off, not unlike recent Bad Religion records. The “safe yet socially conscious” lyrical content rounds out this trifecta of “meh.”  –Mark Twistworthy (Voice Of Addiction, voiceofaddiction.com)

Made in Oakland: CD
Meathead hardcore tinged with streetpunk, very much in the vein of a more monotonous Agnostic Front or Sick Of It All. It’s the kind of punk where the choruses are mostly the song titles chanted between the verses, which frequently concern getting trashed and beating the shit out of people. Made in Oakland surprised me every now and then with some rocking guitar solos, as well as the world’s most jarring Elton John reference. But they’re buried in junk like the insufferably douchey “Hit and Run” (spoiler: it’s not about traffic accidents) and way too many earnest complaints about posers. Really, by the time I got to the song actually called “Poser” I had to wonder if this whole thing was a parody. Sorry, guys: if you’re over thirty—or fifteen, really—and posers are still a serious problem in your life, we probably aren’t going to be on the same page musically either.  –Indiana Laub (Self-released, makesometrouble.com)

Memorial: CD/LP
I can’t say I’ve ever given Russian Circles a chance before. I knew of them, knew they had a former member of Botch (a band I like), but they were one of those acts I felt as though I would get around to when I had the time. And I never had the time. Recently, I listened to some songs of theirs online for some reason and downloaded Memorial. And it’s fucking great and now I feel like an idiot for not catching on to them sooner. Yes, they are an instrumental, post-metal band, similar to Isis or Pelican, but Russian Circles differs in that (at least with Memorial) they are much more atmospheric in their sound. Sure, there are some songs with staggering riffs (“Deficit”) of channeling of black metal (“Burial”), but much of the album is more reminiscent of the Japanese band Mono. There is an almost orchestral sound with the music (well, there are strings on at least one track, so it seems an appropriate adjective), a pastoral richness to the music; the kind of thing you’d want to listen to as you looked out on to snow-covered fields. (The black metal song would maybe ruin that, but whatever.) While the opener, “Memoriam,” is only a minute and a half, the rest of the songs on Memorialgenerally run in the four- to seven-minute range, which seems perfect for this style. My one complaint is that the closer, the title track, should have been much longer. It’s the only song with vocals (featuring the wonderful voice of Chelsea Wolfe) and I could listen to that music paired with Wolfe’s voice forever. I appreciate the breadth of styles on Memorial and the way it flows together. This isn’t for those folks who only like heavy post-metal, nor is it for those who only like moody slowcore, but instead it’s for those with a wide taste in music. If you consider yourself such a person and like instrumental music, don’t be an idiot like me; check out this album.  –kurt (Sargent House, sargenthouse.com)

Self-titled: LP
For those not in the know, Robert Pehrsson is/was a member of a slew of killer Swedish bands, including Thunder Express/Dundertåget (with ex-Hellacopters axeman Robert Dahlqvist), Death Breath (with Imperial State Electric/Hellacopters mainman/Entombed drummer/living god Nicke Andersson) and many others. Humbucker is Pehrsson’s first solo endeavor, and, goddamnit, it is a doozy. I will say that you could probably slap Nicke Andersson’s name on a fucking Bowling For Soup record and I’d find a way to love it (Nicke handles rhythm section and production duties on this record), but, man, this is goddamned phenomenal. There’s definitely a prominent Swedish “high energy rock’n’roll” thing happening here, but with considerably more mood. Thin Lizzy, Fleetwood Mac, Uli Jon Roth-era Scorpions, Jimi Hendrix… there is a well of impeccably utilized influences here that comes together to create a record rivaling those that Nicke himself has written in the past decade. This is a genre-transcending triumph that music fans from all walks would do well to check out immediately. Dang!  –Dave Williams (High Roller)

Self-titled: Cassette
You must’ve heard the trash talk about cassette tapes and their mounting comeback. Detractors say that cassettes are a needless fad, retro for the sake of it, blah, blah, blah. To these naysayers, I offer exhibits A and B: my 1997 Honda Accord (Rhonda, if you’re nasty), and this self-titled demo by Pretty Pretty. This is a band that knows its demographic: cats who still have tape decks in their cars. Seriously, when was the last time you got a new cassette, slit the plastic wrap with a fingernail, and threw a fresh-smelling new tape directly into your car stereo? I’m guessing the last time for me was 1991, at the latest, before I started buying predominantly CDs. So, thanks to the band and their label for reminding me of being a teenager, both in terms of the cassette itself and the music on it: Pretty Pretty, a three-piece, bashes away with gleeful aplomb, stuffing hooks aplenty into their raw but inviting mostly gal-fronted garage pop bashers. The band doesn’t dwell too much on themselves, their gear, or their delivery. Instead, they bring home zee bacon without a care in the world save for the songs themselves, which has gotta be at least as retro—and as righteous—as a cassette, right?  –Michael T. Fournier (Let’s Pretend)

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