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Record Reviews

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Below are some recently posted reviews.

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WEEKEND NACHOS:
Black Earth: EP
Hmm. While Dom at A389’s tastes usually cut right to my core, the appeal of the entire powerviolence genre has always eluded me. It appears that it serves only to amplify the elements of the dark, heavy hardcore that I so adore to cartoonish proportions, eliminating any cohesive feel and creating an almost humorous result. And if there’s one thing I see no room for in hardcore, it’s humor (i.e. the name Weekend Nachos…). Don’t get me wrong, I’m not a humorless man by any means, but leave that shit to the thrash and pop punk cats and keep hardcore hard. That said, people are going bananas for this band, so fans of the genre will probably be way jazzed. That just doesn’t include me. –Dave Williams (A389)


ELLWOOD:
Lost in Transition: CD
Members of the Mad Caddies reinterpret reggae as pop fodder, resulting in nine songs that are catchy, but about as crucial as your average Windham Hill release. Perfect listening for those who prefer safe and bland over challenging and revelatory. –jimmy (Fat Wreck Chords)


W.H. WALKER:
Suds!: CDEP
Once upon a Razorcake podcast, i once proclaimed The Vapors to be the second-most underrated band in the world, and this is a fact. I am pleased as Wildberry Punch© to inform all and sundry that W.H. Walker successfully rip off the first-most underrated band in the world, THE MOTHERFUCKING EQUALS ((profanity mine)), and this is also a fact. For the uninitiated, the Equals were Eddy ((“
Electric Avenue
”)) Grant’s late 60’s/early 70’s band; they were three black Jamaican/Guyanese guys and two white English guys, and THE WHITE ENGLISH GUYS WERE THE RHYTHM SECTION. They fucking rocked. The one good song on Sandinista! is an Equals cover ((“Police On My Back”)), there’s an Equals cover on the second Plimsouls album ((“My Life Ain’t Easy”)), the Sirens covered “Diversion” and both Gentleman Jesse & His Men and Brownsville Station covered their only US semi-hit, “I Get So Excited.” Derv Gordon had the most timber-caulkin’ Rock Throat EVER! Anyway, not that it is my job as Esteemed Rock Punjab to speculate wildly on the intent behind any given record with which i am charged with reviewing, but, shit, if “Suds!” wasn’t W.H. Walker’s attempt at trying to completely rip off “Rub A Dub Dub” by the Equals, i’ll eat my fucking copy of Unequalled Equals in the shower while rubbing my belly with linseed oil. This bit of tubby-time fun is followed by “As The Night Goes,” which sure the hell sounds like a brazen attempt to see what “I Can See But You Don’t Know” would sound like played to the tune of “My Life Ain’t Easy” to this intrepid reporter. The other five songs sound less like blatantly calculated Equals rip offs, yet somehow still manage to rock in a vaguely Equals-ish manner, regardless. Bra-fucking-vo, bra! Rubber duckies all around! BEST SONG: “Suds!” BEST SONG TITLE: “Suds!” i guess. Weird. FANTASTIC AMAZING TRIVIA FACT: I read on line that the “W.H.” in “W.H. Walker” stands for “Welcome Home.” As a Wisconsin resident, however, i’d like to believe it stands for “We’ll Hang.” –norb (Boogie Creek)


VARIOUS ARTISTS:
Speed Kills…But Who’s Dying?: CD
Three bands here repping a nice spread across the hardcore spectrum with five songs each. On one end you have Sheisse Minnelli (a play on “Liza Minnelli,” with the first word in their name translating to “shit”), who are more or less a straightforward hardcore band. They keep the tempos ratcheted up, with some interesting chord and tempo changes, and liberal doses of humor and intelligence in the lyrics. On the other end you have The Shining who, while also keeping things quite zippy, go with a more “metalcore” (as we would’ve said in the mid-’80s) sound, with muffled chugga-chugga guitar strumming and screamed vocals. Between the two we have the belles of the ball here, Verbal Abuse, turning in work more along the thrashy lines of Just an American Band than Rocks Your Liver. No surprise, this considering Nikki Sikki is back manning the mic, and as an added bonus they even serve up a ramped up cover of Sick Pleasure’s (is it a “cover” if the singer sang for that band as well?) “Three Seconds of Pleasure.” While the new Verbal Abuse stuff is hands-down the reason to pick this up, and it’s fuggin’ aces to hear they’re back in such fine form, all three bands turn in admirable work, making this definitely worth the search. –jimmy (Just 4 Fun, j4f.dk)


DOWN IN THE DUMPS:
Discography: CD-R

Fast, upbeat, melodic punk/garage rock, fronted by a singer who mixes growls with singing, pretty much sums up the entire discography of Down In The Dumps. Musically, I thought the band sounded alright, solid if not overly exciting riffs mixing driving bass lines with noodling guitar. Vocals were a bit all over the place, sounding as though vocalist/bassist Mike Dumps wasn’t sure if he should be singing or screaming. What comes through is alternately powerful guttural screaming and gruff but unexciting scream-singing. Backing vocals in many songs, including gang vocal sing-alongs, add a dynamic element to the vocals, but don’t do much to enhance the overall quality of the music. Collectors and existing fans will be happy to have all of the band’s songs on one convenient medium, but otherwise there’s little here to get excited about.

–Paul J. Comeau (Dead Broke)


VARIOUS ARTISTS:
Midwest Thrash Attack: Double 7”
If you see me walking around with my skull burst open and bits of my brain shooting out like meaty popcorn, it’s because of this four-way split of Wisconsin and Minnesota hardcore bands. It starts with two bands of yesteryear, including Stand Off, a name I never thought I’d see on a new piece of vinyl. They were around in the mid ‘90s, a precursor to Remission and Wartorn, but more on the straightforward American hardcore end of things. Damage Deposit keeps it hardcore and keeps it Midwest with a Die Kruezen cover. The second record starts with current Minneapolis mosh kings, In Defence, and an answering machine message from a disgruntled parent complaining that his son went to a show and got an Easter egg full of pubic hair. The message almost overshadows the awesome hardcore songs that follow. Almost. Choose Your Poison serves as the modern Wisconsin band with a quick burst of aggro that’s gone too fast. –mp (Give Praise)


VARIOUS ARTISTS:
Here’s Your Donkey Show: CD
People always ask about the donkey show thing. It doesn’t exist. I’ve yet to meet a human being who can vouch for its existence. You want a fucking donkey show? Here’s your donkey show! I uploaded this album to my iPod without putting any information in, so I wouldn’t know the names of the bands and attempt to circumvent any bias. You see people, I’m from Tijuana, this is my scene, and I’ve seen most of these bands a bunch of times. In fact, I’ve been going to Bumbklaatt shows for about a decade now. Like most scenes in big cities, this spans a few genres such as hardcore, punk, ska, and… well, I guess that’s it. It’s a great compilation featuring the best Tijuana has to offer, which is Bio Crisis, Teenage Kicks, DFMK, and Bumbklaatt. There are also three non-TJ bands, one of which, Dias De Radio are straight off a late ‘90s Hellcat comp. That song alone almost made me want to spike my hair and break out a certain jacket that hasn’t fit in years. –Rene Navarro (Blood Pact, bloodpactrecordstijuana.com)


VARIOUS ARTISTS:
Calvinball / Rumspringer / Mayflower / The Dauntless Elite: 4-Way Split: 7”
Calvinball: Gruff punk rock that’s not breaking any new ground but has enough anthemic energy to keep things interesting. Rumspringer: This is really weird, because I recorded a different version of this song for the band several months ago and I’ve heard that other version a million times before—so it’s hard to listen to this without getting caught up on how those subtle (and not so subtle) imperfections are no longer present. But that’s clearly just me because next to no one reading this has ever or will ever hear that version. Rumspringer is one of the best DIY rock bands around (don’t call them a “punk” band). They’ve written some of the best songs of the last several years and this one is right up there. Mayflower: Pretty much the same as Calvinball. I’ve heard this song a million times before by thousands of other bands, but somehow I’m not sick of it yet. The Dauntless Elite: Fuck yeah! How can you not love this band? Bouncy and catchy punk rock with a cockney accent. I have no clue what half of the words in this song even mean, but that won’t keep me from trying to sing along. –Chris Mason (Not Shy Of DIY, notshyofdiy.com)


VARIOUS ARTISTS:
Bloodstains across British Columbia: 7” EP
Though the title might be a bit misleading to fans of compilation albums featuring tons of moldy punk oldies, this is a collection of thirteen bands each delivering a one-minute tune about the titular Canadian locale from whence they hail. The sounds mined here are well varied—vaguely ‘60s pop, skronk, punk, trebly indie-rock, even a band that sounds like they’re on a Urinals bender, and so on. The bands could’ve easily just knocked off and sent over any shit, but by the sound of it, they took the idea seriously and delivered some pretty good listening and, as a result, a strong regional comp. –jimmy (Mammoth Cave Recording Co., mammothcaverecording.com)


UNFUN:
Shallow Graves: 7”
How a band like Unfun can be so poppy and so sludgy at the same time is beyond me. Gravely vocals, pounding drums, and downtuned guitars playing blurry but melodic basement punk riffs! I’m fucking sold! There is not a hint of optimism in a single one of these songs, but somehow they make me smile. –Chris Mason (Drunken Sailor / Not Shy Of DIY, notshyofthediy.co.uk)


UNCLE SKUNKLE AND THE SCARECROW FAMILY BAND:
Happily Ever After: 7”
Not going to lie, the name makes me expect some shitty opening band I don’t care about at a bar show at the shore that announces songs like “My Bitch Ex-Wife.” But when I put it on, it’s much better! Surf rock, kind of like Man… or Astroman? at times—mostly instrumental, kind of fucked up surf rock. Upon further investigation, apparently there’s a version of this that’s like ten bucks, which is ridiculous for three songs, but otherwise I’m into it. –joe (Pug Face)


ULTRAMATICS, THE:
MK Ultra: 7” EP
Lyrically, we’re not exactly talkin’ rocket science here, with subject matter focused primarily on metalhead girlfriends, improved living via the MK Ultra program, and a number of assorted people who they would like to see go away. Musically, this falls squarely into the Ramones-inspired end of the pop punk pool, with guitars a-buzzin’ and the tempos a-middlin’. Somehow it all works to their advantage and, in the case of the song “Magnetic,” they’ve actually come up with a nice ditty worthy of being played at excessive volumes. –jimmy (The Ultramatics)


TRUE STEREO:
Self-titled: 7”EP
Bless these punks. I fully admit of being in a certain mindframe growing up. It was a direct result of being unrelentingly bashed over the head with the radio canon of classic rock when working blue collar jobs and growing up in the rural high desert. I was in my early thirties before I circled back around and began to appreciate bands like Thin Lizzy, Black Sabbath, and The Sweet. I’m hypotheticalizing here, but I think True Stereo—although undeniably launching from the DIY punk space station—are steeped in a long, worthwhile rock tradition. They’re on a completely different trajectory than Tucson’s Lenguas Largas, but give thanks to both Lenguas and True Stereo. They’ve separated the good rock music from the shit, then supercharged it and made it their own so you, dear listener, can witness the following: No, it hasn’t all been done; No, DIY punk is not in a musical cul-de-sac or echo chamber; And no, the entire future doesn’t belong to making songs to accompany a product as part of a “lifestyle campaign.” Really fuckin’ good. –todd (Dead Broke / Family Night)


TROPHY WIFE:
Self-titled: 7”
This is a three-piece, all-female outfit from Tennessee whose aim is neither to be cute or heartfelt. The one sheet claims they take influence from “Spector-era girl groups” (which can be heard, vaguely, in the vocal delivery), but I wouldn’t recommend it if you’re looking for something like the Vivian Girls or Hunx And His Punx. The band toys around a lot with negative space—completely deconstructing songs until they essentially lack any sort of countable rhythm—and filling in the space with shrill, reverb-laden vocal tracks and awkward stereo panning. The end result is something like a punk rock version of Paul Giovanni’s Wicker Man soundtrack. The record is so strange and unnatural that it takes several listens to grow accustomed to, but in the end it’s definitely worth the time you spend with it. –Ian Wise (Private Leisure Industries, privateleisure.org)


TRENCH ROT:
Demo: Cassette
Trench Rot plays simple and straightforward hardcore punk, succeeding in doing so without becoming generic or monotonous. Each song features some good riffs, with breakdowns sure to get you moshing. It would have been nice if the insert included lyrics, or any other kind of info, but from what I could glean, lyrically, the band covers the usual political/punk themes. While Trench Rot is not exactly breaking new ground here, who cares? Each of the songs on this demo rip and I’m into it. –Paul J. Comeau (Trench Rot, trenchrotband@gmail.com)


TO HELL AND BACK:
Will We Be Torn Apart: LP
Some hardcore punkers get their hard rock on. Sure, they ain’t bad at it, but c’mon dude, it’s hard rock. –jimmy (Peterwalkee, peterwalkeerecords.com)


THROUGH THORN AND BRIER:
Good Grief: Cassette
This is some brutal stuff here. Four rad songs that will leave you biting your lips and clenching your fists. Hardcore punk with a guitar player that’d be lying if he said he doesn’t listen to metal. This is right up my alley: loud, hard, and unbridled. Everything about this tape makes me happy. I would recommend this to fans of Trap Them, Warcry, and Run For Your Fucking Life. –Rene Navarro (Baldy Longhair)


TENEMENT:
Napalm Dream: LP
Shit. This record is absolutely beautiful. It not only sounds completely realized, but it honestly sounds like they’re pushing themselves. It’s urgent, with established foregrounds and backgrounds. Even at its most desperate it’s still catchy. If you’re too tired to listen to music, this record is there. If you’re drinking with friends, this record is there. It also looks like they let a lot of people in on the recording, to which they benefited immensely. Who knew that feedback over piano was so moving? Female backing vocals? The best. Once again, the Midwest produces an earnest, melodic punk classic, but this time they end it with a hardcore rager. This record is important. –Daryl Gussin (Mandible)


SUEDEHEAD:
(so) Frantic: EP
Second four-song vinyl EP from this new southern California band featuring members of Hepcat and the Distraction. The first single from Suedehead was an instant classic, so expectations were high for this one. This band perfectly combines mod, soul, two tone, and Britpop influences into an amazingly strong sound. In some respects, it comes off a lot like what Style Council were trying to do, but instead of being unlistenable it is some of the best music I have heard in years. The second single continues that trend, I am happy to say. Great vocals, amazing songs and playing; this sounds like a band that has been together for five years and toured the world. In reality, they are just getting started and I cannot wait to see where things go from here. –frame (I.S.R.S.)


STRIPMINES:
Sympathy Rations: 7” EP
They don’t appear to be afflicted with the same short attention span, but they definitely recall the ADD-addled glory days of early Poison Idea. Loud, fast, and no metal in sight; just pure, full-bore thrash. –jimmy (Sorry State)


STREET EATERS:
Rusty Eyes and Hydrocarbons: CD
“Bald eagle, why are you such a dick?” “Armageddon, come and get it.” “The ‘master plan’ for America never accounted for the plumbing, upkeep, or modesty. It sorta sucks.” I’m paraphrasing, clipping off the poetry, but what I appreciate about the Street Eaters is that they sound like they’re coming up from underneath, from deep caves eyes slowly adjusting to the light, or they’re coming from a planet whose inhabitants are equals to—and have no lofty goals greater than—the cockroach. Or they’re coming from a culture that doesn’t view death as an inglorious end, but part of a cycle. Their music’s not entirely pretty, neither is it entirely ugly. It’s light and dark. Tense and loose. Caustic and flowing. Political and deeply personal. I know dick about recording engineer stuff, but I can almost picture the color of the tones of their two instruments when they play them. I like that. It’s like they’re not only painting a picture, but are graceful enough to explain their technique and what it means to them when they’re holding the brushes. Worth unpacking, putting on their socks, and walking around in them for a little bit. Still not a big fan of Jefferson Airplane/Starship, but their cover’s not a deal breaker. –todd (Bakery Outlet, bakeryoutletrecords.com / Plan-It-X)


STOCK OPTIONS:
Self-titled: CD
An EP’s worth of some nicely meandering instrumental indie rock. Reminds me somewhat of a less frantic Fourth Rotor—a slow, simmering buildup to some kind of crescendo, scattered through with braces and squalls of feedback. Not sure how much of an appeal it’ll hold for Razorcake readers, but they seem fairly adept at what they’re doing. I can visualize lots of people drunkenly swaying to this stuff in a bar somewhere. –keith (Stock Options)


STIRLING SAYS:
Balboa: LP
Love it. We need a name for this wave of punk that borrows from early alt-rock. I’m going with Alterna-Punk, y’all with me? Stirling Says are a Bay Area power trio with the songwriting chops of late ‘80s/early ‘90s indie bands like Dinosaur Jr. and Pavement, but they play with an intensity that makes it sound like catchy, quirky California punk. The melodies have an underlying melancholy that makes them all the sweeter, like bruises on a plum. There’s a prog-nerd element in some of the noodlier leads and lyrics like, “I’ll do everything I can to make the fire flow from my hands,” but it doesn’t cut into the fun. Nice recording, too—bombastic low end, and enough grit to make the psychedelic guitar freakouts blast off. I’d suggest copping wax and putting “A to D” on a mix in-between “Freak Scene” and anything off that new Underground Railroad To Candyland LP, but if you’re on the fence, go to their Bandcamp page and download it for free. Either way, give this a listen. –CT Terry (Adagio 830)


STEINWAYS, THE:
Promise It’ll Never Happen Again: LP
Short attention span Pop Punk. Two capitals “P”s. Near-helium voices. It’s sorta like hearing the teddy bear section of a toy store play punk, with occasional swearing. Jokey. Ramones, Ronettes, Ritalin. “Didn’t they have a single on Mutant Pop?” Perhaps Parasites. Proficient and controlled. Definitely Queers. Stalker songs masked as “I Wanna Be Your Boyfriend” songs. Self-effacing, sarcastic, spastic, self-aware. One song in Portuguese (?). They were around for six years and have since broken up. This LP’s a harvest of scattered comps, singles, and alternate versions. For fans of Dirt Bike Annie, Copyrights, Teenage Bottlerocket. “I swear they had a CD-R released by Mutant Pop.” –todd (Don Giovanni / It’s Alive)


STALKERS:
“Lady Sonia” b/w “When We Get There”: 45
The sleeve art is a photorealistic pencil drawing of a nekkid girl ((well, i take that back – she’s actually wearing opera gloves, a studded leather belt and a matching collar)) bending over just enough that you think you might be able to see something cool, but with her arms positioned in such a way to block your view of her boobs—which is an odd thing, because right above her head, there’s also a close-up sketch of her boobs, submitted for your approval. There really is no other context for the imagery; it’s just doggy style asses and hands-on-boobs for the apparent sheer fun of seeing doggy style asses and hands-on-boobs. She isn’t whapping her butt with a drumstick, or drying herself off on a Voxx Teardrop bass, or, really, anything rock related. It’s just a nude chick. I don’t know exactly why i am so fascinated with this; it’s just that, when someone sticks a nude girl on their record cover, there’s usually some…point? Like, some, i dunno, attempt at a statement or something? It’s usually just not “OK, here is our cover, which is a naked girl, because we all like naked girls.” There’s usually at least something more to it, isn’t there? Well whatever. So, flip to the back cover, and it’s more pencil drawings, this time of guys with Small Faces haircuts and what-not. I am prepared to cast this record out the window, sight unheard, just for annoying me with its, i dunno, general rock-star-ish-ness, but, in the spirit of fair play ((possibly also in the spirit of further checking out the chick’s ass)), i put it on the turntable, and, amazingly, the a-side is actually really pretty good. It’s a fast, snappy, Powerpearls-style, ‘79/’80-ish skinny-tie-Beatles-on-speed ditty, with up-and-down-the-scale vocals and lyrics about a “self-declared masturbatrix” ((go figure)). I mean…i still kinda think that overall, these guys are probably dorks, but, shit, if somebody told you this was the Rousers or somebody, you’d be all over this shit, so call a spade a spade and admit it’s a good song! The b-side employs acoustic guitar and is pretty forgettable. In any event, there probably haven’t been many better reasons to think about installing a turntable in your bathroom, have there been? BEST SONG: “Lady Sonia” BEST SONG TITLE “Lady Sonia” FANTASTIC AMAZING TRIVIA FACT: Artwork by Sophie Thunder! –norb (Oops Baby)


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