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Below are some recently posted reviews.

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I’m Not Alone: LP
This just sounds like the southeast. Catchy and chaotic and screaming to get out but happy and narcoticized by lush green surroundings and barefoot summers and not being sure if you love how your neighbor always says “Hi” or if you wish they’d butt out for once. Set this in a college town: Indie pop punk bands Superchunk and Archers Of Loaf are playing a club on the main strip, in between the fratboy pizza place and the antique shop where professors buy lamps. Assfactor 4 and some other chaotic emo bands are making the walls sweat at a basement show a couple blocks into the neighborhood. Flashlights are standing under a streetlight halfway in-between, pulling quickly warming beers from a soggy cardboard box, realizing they don’t have to choose—they can stand right there and enjoy both shows. –CT Terry (Protagonist Music)

Split: 7”
Life-affirming, happy-as-fuck, 1990s-style pop punk in the vein of Squirtgun explodes from these three lovable bands from Florida, New York, and Illinois. I haven’t heard a better new pop punk record in some time. I’m literally dancing at the computer like a fucking idiot as I review this gem. Fans of quality underground, catchy pop punk like The Connie Dungs will go apeshit over these three brilliant bands. Six songs are crammed onto this gift of a 7”. The best track is “Productive” by Fizzy Pops, which has a White Trash Superman or Grumpies vibe. The co-opting of pop punk into the mainstream will never kill it in the underground as long as there are rad bands like these out there. The locals who get to see these groups regularly are living large, whether they know it or not. Have fun! I’m jealous. –Art Ettinger (Swamp Cabbage, swampcabbagerecords.com)

MPD: 7”
Title track is a nice bit o’ garage punk stompin’, raw enough to pass the stringent tests laid out by purists but not so much so that it sounds like a wall of shit. Flip is a Chosen Few cover, the original of which I’ve not heard before so I’m not in an authoritative position to determine whether or not they fuck it up. Produced by Ty Segall. –jimmy (Goner)

Self-titled: 7”
Epic Problem is a very interesting new project from Mackie of the early U.K. oi band Blitz. As influenced by later bands like Jawbreaker and Leatherface as they are by early oi, Epic Problem wonderfully mixes the old and the new on this engaging three-song 7”. I’m not sure I’ve heard anything like it before, as it mixes two styles that don’t normally coexist in regimented punk-ville. Odder still is that the combination works and that it works well. The legendary Mackie brings immediate integrity to any band, but this is a truly outstanding record regardless of its members’ history. Plus there’s a song on it called “(Not So) Smart Bombs,” which is awesome on so, so many levels. –Art Ettinger (Longshot)

Party Child: LP
I must admit, I grabbed this because I saw it was on Satan’s Pimp, which was/is a label from the 1990s that was known for interesting packaging and music that pushed against the borders. I like not knowing what I’m going to exactly get from a record all the time. And, as a label, that’s what Satan’s Pimp does. You know it’s not going to be the norm, but how far out is always the question. Musically, Elephant Rifle sound like something that could have been on Touch & Go, early Sub Pop, or Am Rep. Their style is, I guess, what one would call post-rock, or maybe post-hardcore. No easy categorization. Songs are sometimes wound up tight, then, other times, they are a sprawling and thundering landscape of percussion with guitars and bass churning in the back. I find myself going back to the second side of this record most. The songs just flow together more and the overall feel is more cohesive, not to mention, much darker sounding. The transition from “Saddest Comedian” to the slower, broodier, ominous “Nurse Feratu” makes sense, as they both have the same feel, despite one being more hyper and the other more down. –Matt Average (Satan’s Pimp / Humaniterrorist, humaniterrorist.tumblr.com)

Party Child: LP
Far and away the high point of this whole loud and painful affair, the gross and stylish cover art is reminiscent of a cross between Gary Panter’s work for Raw magazine in the ‘80s and something that would’ve gotten Mike Diana tossed in the pokey back around then. The band, however, should change its name to “The Uck,” owing to its great uckiness. If i remembered what Steel Pole Bathtub sounded like, I’d see if these guys sounded at all like them. Uck. BEST SONG: “Saddest Comedian” BEST SONG TITLE: Either “Rib-Eye for the Dead Guy” or “Nurse Feratu” FANTASTIC AMAZING TRIVIA FACT: If I am reading things correctly, “You’re Welcome” is the only entity on the “Thank You” list. –norb (Satan’s Pimp/Humaniterrorist)

We Wear White: CD
Catchy, infectious, and often funky rock stuff from a former member of Dischord staples El Guapo and Antelope. I must profess at never having heard anything from Edie/E.D. prior to this, but the ride is fun and damn if I didn’t find myself with “Weatherman” earworming my noggin. –jimmy (Dischord)

Cold Comfort: 7”
Long sleeves, gym shorts, singalongs, straight edge, being fucking posi, loving Youth Of Today, gang vocals, mosh lanes, crew cuts, New Balance. Do these things describe the whole of Polish youth? I hope so, because these guys make me feel like they should. This record reminds me of my youth and hardcore from the late ‘90s/early ‘00s in a way that doesn’t make me want to throw up all over myself. The songs are tight, the production is sparse, the lyrics talk about forgetting shitty friends, hanging out with good friends, and being cooler than everybody. These guys probably have more fun than you. This kind of music is like the garage rock of my generation; it’s just four kids playing a few chords in the basement because it’s fun and just playing music to their friends. I smiled all the way through this thing and immediately called my friends to tell them about this band. Highest recommendations for fans of the style or just people who remember when this kind of music wasn’t nearly as fun as these kids are having. –Ian Wise (Refuse)

Drown w/ Moon Rocks + Speed: Cassette
Some crazy dissonant, distorted punk rock here from Madison, kind of like if Sonic Youth were a garage band, but way cooler than that might sound. It’s just some awesome, heavy, off-kilter, fuzzy rock’n’roll that won’t be content in classifications like post-hardcore or gunk rock. Climbing walls of distorted buzzsaw guitars, the lead singer gives it all: his sweaty, midsummer desperation vocals are tense and high, almost always bursting into a strangled shout. If you get one freaked-out, oddball punk cassette this year, this is the one. –Craven (Kitschy Manitou, thedharmadogs@gmail.com)

Demokrati Eller Diktatur?: 7”
I liken d-beat to the relationship with your favorite beer: it’s still fucking refreshing no matter how many times you’ve partaken. Desperat are all lifers when it comes to the genre (Mob 47 members!) and from the mayhem exhibited here, they show no signs of tiring, with a sound that so many punks hold dear. Typically, I’d be a little less than enthused with such high production values but I’d be a lying asshole if I said it doesn’t work perfectly here. The cymbal sound is like they’re playing right in front of you; and for that alone, they definitely got their money’s worth. Personal taste disclosure: nobody (besides the mighty Discharge, of course) does it better than the Swedes. So if you’re into Krigshot, Totalitär, and Kvoteringen, then you absolutely need this. –Juan Espinosa (Beach Impediment, beachimpediment@hotmail.com, desperathc@hotmail.com)

Roads to Judah: CD
The darlings of the blogosphere in the two years since their formation, Deafheaven have a sound which fuses several different genres and influences, including elements of black metal, shoegaze, and post-punk/post-rock into something uniquely their own. The duo of vocalist George Clarke and guitarist Kerry McCoy make up the core of Deafheaven with McCoy acting as the primary songwriter and Clarke the primary lyricist. A revolving cast of supporting musicians has filled out the band to a quintet since the release of their demo. Roads to Judah marks the band’s first full-length release on label Deathwish after a 7” single on the label. With four tracks clocking in at just under forty minutes, Roads to Judah is an atmospheric, ephemeral, experience. The opening track “Violet,” begins with a bit of an ambient soundscape, with clips in the background before guitars come in, followed by the rest of the band. The intensity builds note by note, layer upon layer, and riff upon riff, before crashing over the listener in waves of sound. There’s a movie soundtrack feeling evoked by the progression. Breaks between each track are brief, as though allowing the listener time to catch their breath before submerging them once more in an ocean of sonic waves. After the roaring climax of the second track, “Language Games,” there’s a particularly noticeable break before the third track “Unrequited.” This track opens with a slow melodic intro, before steadily ratcheting the intensity back up. “Unrequited” and the closing track, “Tunnel of Trees,” were my favorite tracks on this record. “Tunnel of Trees” features some of the most interesting riffs and the most dynamic overall sound of the entire album. It’s the track I will likely point new listeners to when I tell them to check out Deafheaven in the future. While I was a bit late coming to Deafheaven, partly out of a desire to avoid “hype” bands, I wish I had checked these guys out earlier. Every ounce of attention given to this band is justified, and Roads to Judah has made me a believer. –Paul J. Comeau (Deathwish Inc.)

Bangers: CDEP
Right up front, I’m not much of a fan of the average two-member band thing, specifically with the whole guitar-drums/bass-drums thing. The reason is simple: most of ‘em aren’t proficient enough to compensate for the sonic hole left by the missing instrument. This ain’t a big deal when we’re talking about something like rockabilly or some other roots-based music, but when it’s more rambunctious-oriented stuff, I can count on the fingers of one hand the instances where a band bucks the odds. Usually, though, the results end up sounding a bit flat. Totally a personal preference thing, and I’m well aware that there are those who would disagree, but unfortunately, this is the case here. The songs are potent bits of primal rock/punk but the low end punch provided by a bass (or even a baritone guitar wielded by someone with the dexterous flair to fill that void) is sorely missed here. –jimmy (Dead Skull, facebook.com/blackeyeltd)

Evil Eye on You: CD
Since i seem to be chronically unable to describe bands such as this guitar/drums/harmonica trio without using the phrase “bluesy squall” at least once, i might as well drop all pretense of insight and just call it “bluesy squall” right up front. Ergo, “bluesy squall” it is. Let me know to whom i address the royalty check. “I Feel So Electric” is kind of like what i imagine the Rolling Stones might have imagined they were sounding like when they were in actuality subjecting us to pale dreck like “Little Red Rooster,” however, more often than not, the disc kinda sounds like two Bob Log IIIs, a third guy bound and determined to do for the blues harp what Johnny Ramone did for the Mosrite® ((with a rare excursion into Dylan-honk or two)), but no motorcycle helmets nor Boob Scotch. Well, except for “Witch Hunt,” which sounds like Howlin’ Wolf doing that moaning thing in Hasil Adkins’s left ear, to noteworthy effect. Abidih abidih abidih, that’s squall, folks! –norb (Norton, nortonrecords.com)

In Toytown: 2 x CD
Even on a label that released disparate oddities by the likes of Annie Anxiety, Captain Sensible, and Rudimentary Peni, Cravats were an anomaly. Equal parts Crass, Captain Beefheart, and what occasionally sounds like some coked-out funk band on a Black Randy bender, they delivered abrasive, dissonant, and oddly groovy tunes with humor, tautness, and a level of musical sophistication that stood well outside the comfort zones of the average punker. Here their four singles on the Small Wonder label are collected with the titular album on one disc, which itself is paired with a new remix of the entire album by none other than Penny Rimbaud, who produced some of those early releases. Crucial stuff here for those who like their punk a bit more esoteric and challenging than the requisite polka beats. –jimmy (Overground)

Stick To Your Guns: CD
Twelve songs on this debut CD from this five-piece band from Germany play some cool oi mixed with some speedy hardcore. These guys have been around for a long time in other bands like Maskapone and I Defy, took their past experiences, and brought them to this band. They combine all their older bands and other influences and have created a pretty damn good release with lots of power and passion. This is a great CD to sing along to and hit the repeat button on your CD player. –Guest Contributor (Aggrobeat, aggrobeat.com)

Couldn’t Get Worse: LP
In the blackness of my despair during my time in Oakland, I felt unappreciated, worthless, and alienated. I am not fond of how I felt during those days or proud of my inability to bring myself out of that darkness. My friend John didn’t live with us long, but I liked having him around. John had a sensibility and a presence of mind about him that was refreshing amongst all of my bro-punk roommates. He brought me breakfast in bed on my birthday. Steph bought me beer, beef jerky, and gave me a stupid-looking bear she won in the claw machine on the first night we hung out. She cut a lock of her dreads and stuck it in a hole she cut in the bear’s ass to give it a bit of style. Corrina managed to scam food stamps even though she didn’t live in Oakland. She spent most of them on my house for letting her stay for a while. She got a kick out of buying us a set of Pez dispensers featuring all of the princesses and girls of Disney movies displayed in a cardboard case, because it could be purchased on stamps as a food item. John left Oakland after about three months to be closer to his family and friends in New Orleans. There he walked in on his own burglary and got shot in the head. Steph lived with him in New Orleans and came home that night to flashing blue and red lights. She never wanted to be in New Orleans, but wore a bracelet around her ankle that would send her to jail if she left. She did leave, though. She turned on the gas in her home and checked out. Corrina would move to New Orleans and start a band. A band called Crackbox, a band I would rave about after getting their first 7” to review for this fanzine by sheer luck of the draw. I was floored by the vigor, soul, and integrity of the songs. This time, maybe not so much by coincidence, Razorcake sent me their second record, Couldn’t Get Worse, to review. I pulled out the lyric sheet to see Corrina’s photo-realistic drawing of Steph and John together and smiling. Playing the record I heard songs written about friends dying and being sad about it. I heard songs about the struggle to keep living and to keep fighting. Songs about resistance in a broken world. Songs about loss and damage and gritty hope. It was the best damned punk record ever made and if there’s anything else about it you want to know, you can fuck off. –Craven (Self-released, crackboxxx@gmail.com)

Split: 7”
Thee Cormans play a fuzzed-out surf tune that would make a good soundtrack for a minute-long movie about a killer shark growing feet and chasing bikini babes around on a beach. The Pacifics drop a revved-up rave up about the sad life of a lonely caveman. B movies for your ears. –mp (Bachelor)

Self-titled: Cassette
I don’t know about you, but when I’m forced to listen to a band’s cassette, I’m already pretty fed up with the band. First, I’ve got a good three minutes to remember why cassettes are obsolete as I’m struggling to get the plastic packaging off. Then I have ten minutes to diagnose what’s wrong with the cassette player on my stereo and fifteen minutes to try to make the cassette play before remembering that it broke four years ago and I never bothered fixing it because why would I? Then there’s another ten minutes of digging out my other cassette player from one of the boxes in the closet although I’m not sure which one. Then a good thirty-five minutes are completely gone because I’ve stumbled upon a box of old flyers which prompted me to call my ex to see if she remembers seeing The Bouncing Souls with me in senior year of high school. Then I subtly try to feel her out for a bit to gauge whether or not she’s seeing anyone. Then I find out she is and get depressed and make myself pizza bagels. Anyway, what were we talking about? Oh yeah, this band isn’t very good. –Dan Ozzi (Let’s Pretend)

All We Love We Leave Behind: CD/LP
At this point in their career, Converge’s songs, as well as their albums, are all starting to run together for me. The early albums (Petitioning the Empty Sky, When Forever Comes Crashing) will always be distinct, primarily because of the rough nature of the sound. Something happened, though, when the band got to 2001’s Jane Doe that catapulted them to a whole new level. Since then, thanks in part to guitarist Kurt Ballou’s consistently sharp production work, the band has maintained a professional but aggressive sound. While the albums since Jane Doe have all been masterful, there has been little to register any difference in sound between You Fail Me (2004), No Heroes (2006), and Axe to Fall (2009). They’re all brutal, intense, and have Jacob Bannon’s shrieking, wounded bird vocals. They’re all competently played and continually showcase Converge’s power and dominance as kings of the metalcore scene. While each album since Jane Doe has had its one or two slower songs, I wish there was a little more experimentation on some of the songs on All We Love We Leave Behind—something to really make them stand out. All We Love We Leave Behind has fourteen songs clocking in at thirty-nine minutes. They are still intense and the “slower” song on the album, “Coral Blue,” might be the best “mellower” tune Converge has ever done, with a bluesy riff thrown in on the chorus. The rest of the material is blistering, pissed off, and runs together. Don’t get me wrong—I’ll still be banging my head and freaking out to this when I’m alone in my bedroom, but I’d just love for there to be some more distinction in the sound with this album. –kurt (Epitaph / Deathwish)

All We Love We Leave Behind: CD
When your band’s discography includes genre- and era-defining albums like Petitioning the Empty Sky, When Forever Comes Crashing, and Jane Doe, I’d imagine that approaching the writing of a new album is a gut-wrenching experience. Lesser bands try to recapture the lightning in the bottle of their earlier glory, churning out record after record of derivative clones of their first successes but never quite recapturing the magic of the original. Converge though, are not a lesser band, and the trails they musically blaze on every album seem to take the band to even more towering heights of greatness. While countless others have tried to imitate them over the years, Converge have a chameleon-like way of reinventing themselves on each new album, each time bringing something that is both fresh, but distinctly their own. All We Love We Leave Behind is no exception. The blistering metallic hardcore fury that we’ve all come to expect from Converge is all over this album. Guitarist Kurt Ballou and bassist Nate Newton each demonstrate their virtuosity, with some of the most technical playing of anything in the Converge catalog. Having one of the best drummers in hardcore, Ben Koller, holding down the rhythms, and the end result is spastic, aggressive, and also really damn catchy. There are some great riffs on this record, sure to please hardcore and more metal aficionados alike. Vocalist Jacob Bannon has always been one of my favorite lyricists, and on tracks like “Aimless Arrow,” “Sadness Comes Home,” the title track, and the closer “Predatory Glow,” he’s written some of my favorite Converge lyrics. Bannon is known for having one of the most distinct, guttural, and abrasive voices in hardcore, with a howl more terrifying than the scariest banshee screams. On All We Love We Leave Behind he also demonstrates a very dynamic range, with spoken word and sung-spoken parts as in the opening track “Aimless Arrow.” This dynamism only serves to make his voice that much more impactful. After dozens upon dozens of spins, I can’t even begin to choose a favorite track on this album. 2012 has been one of the best years of music in recent memory, and All We Love We Leave Behind is quickly clawing its way to the top of my list of albums of the year. It is not only Converge’s finest record since Jane Doe, but is arguably the pinnacle of their career to date—a musical triumph not to be missed. –Paul J. Comeau (Epitaph, info@convergecult.com)

Some Sick Joke: 7” EP
Some heavy duty Boston hardcore here that’s out to pummel the listener into compliance. Of the three tunes here, only one goes the thrashy route, with the other two opting for intensity and sheer brute force instead of dazzling tempo trickery or metallic masturbation. Stuff like this can go either way, and these guys are firmly planted on the “whoa!” side of the road this time out. –jimmy (Side Two)

Self-titled: LP

This album is comprised of an enjoyable load of ‘60s-inspired, three-chord punk riffs. Heavily distorted bass and vocals, tambourines, and naturally distorted guitars are in play for danceable, Back from the Grave phrasing with a hint of Reatards influence. They meld the “about to fall apart” feel with solid playing moving in and out of full-on, driving beats and jumpier fare. Well done. You should get this album and slip it in with your party records and then wait for someone to say: “Who is this?” Then you can say: “Oh, you never heard of Combomatix?” Then the other person will be like: “Oh, yeah. I think I’ve heard of them.” And so on. What I’m getting at here is that it’s pretty rockin’ for fans of lo-fi-fare, or whatever term we’re getting attitude about using now.

–Billups Allen (Frantic City; franticcity.free.fr)

Oddities: 2 x LP
One of those times where I came upon some gold in the review box here at the Razorcake bunker. I’m thumbing through, picking out stuff to review, and I see this gem. Thought for a couple minutes Alan Funt might come out and tell me I was on Candid Camera or something. Grabbed this, and soon as I came home, put it on the stereo and was blown away. Originally released on cassette in 1982, and now on vinyl in 2012 via 540 Records. This stuff is B-sides and other odds and ends recorded between 1980 and ‘82. The sound quality is not that rough when you think about where it came from and what it is. Stuff like “Thumbs Off” and “Getting Older” is classic. “Mudchucker Blues” pre-dates bands Pussy Galore and Jon Spencer Blues Explosion and comes out of left field in comparison to the more poppy flavored songs here. Some of the material towards the end is more fragmented and sounds like they were working out some ideas. However, it’s all worth spending many afternoons with. Packaged in a gatefold cover, with flyer art on the inside. A must-have for purveyors of fine music. –Matt Average (540, timmy@chaosintejas.com, chaosintejas.com/540/index)

Punks on Parole: CD
So this Danish band has been around for the last twelve years or so. My question is: why aren’t they better known? There is some great punk rock going on here. Being influenced by the best in American and British punk and hardcore, but still managing to keep it sounding fresh is no easy task, but these guys are on it. Raw and catchy is special here and they’re serving it up. Now I’m on a mission to track down their other releases. Great stuff! –ty (Black & Blue, blackandbluerecords.com)

Land of the Free: 7”
Decades down the line and CH3 are still kicking out a couple o’ new singalongs for yet another generation of kids who appreciate a band with more on their mind than getting fucked (up). This time ‘round, they address the narrow-mindedness of some in the “Land of the Free” and, on “Make It Home,” surviving domestic violence. Both handily make their point without being preachy and do it with a sound that has matured without sacrificing power and their signature style. Also comes with a download card that tacks on five more tracks to the deal, including another duet with Maria Montoya, who the older fans will remember from her last stint with the band on “You Make Me Feel Cheap.” As with most Hostage releases, there are a limited number of these bad boys out there, so start scramblin’. –jimmy (Hostage)

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