Welcome to Razorcake | DIY Punk Music | Punk Bands | Punk Rock Bands | Punk Magazine Welcome to Razorcake | DIY Punk Music | Punk Bands | Punk Rock Bands | Punk Magazine
 

























Record Reviews

1 2 3 4 5 6 7 8 9 10 11 12

| 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|

Below are some recently posted reviews.

RSS Feed

HUMAN CARNAGE:
Rest in Pieces: CD
Can’t help but think grindcore’s best years are long, long ago. Seriously, after Brutal Truth stopped and Excruciating Terror put out their second album, what of note has come out of this genre? Human Carnage are tepid grindcore No spark, no fire, no teeth. They should come play in Los Angeles with all the shitty local grind bands that sound exactly like one another. Zzzzzzzz.... –Matt Average (APH, aphmusic.com)


HOUSE OF COMMONS:
Guilty as Hell: CD
Welly from Artcore unearthed this slice of Canadian punk history. House Of Commons came out of British Columbia in 1980 and recorded in one form or another right up to around 1993. Obvious DOA influence in their sound, but they have a definite U.K. influence as well: mid tempo punk where the songs are allowed to build and hold your attention. This disc collects their Patriot LP from 1983, and demos from 1985 to 1993. Must admit, their later stuff is just as good as the earlier. Not a common feat! You can score this with Artcore #26. –Marcus Solomon (Artcore, flw@ntlworld.com)


INVASIONEN:
Hela Världen Brinner: LP
I feel guilty, I think. The Lost Patrol Band put out two of my most-listened-to records of the past many years. I was absolutely obsessed with Automatic (still am, really), and the eponymous record is nearly as awesome. So here’s the guilt thing: As you may or may not know, there were some trademark issues with the band’s name, so rather than try and deal with any of that nonsense, these handsome Swedes chose to take not only the name change route, but to take this opportunity of rebuilding to begin singing in their native tongue. And now? I just can’t get into them the same way... And guess what else? Same story with Masshysteri—essentially a retooled, Swedish-singing version of The Vicious, one of my favorite bands of the modern era. These two bands, to whom I listened to so actively and passionately at one time have become something of aural wallpaper to me now. These songs, which are musically as memorable as any previous output, just blend into the background of my day. And so I don’t know how to review these records. I can only trust that the Swedish punk contingent can now enjoy this record, these bands, as much as I did prior to the language change. And I will unwaveringly support them and buy each record they release… I just wish it felt the same. Am I a bad dude? –Dave Williams (Ny Vag, nyvag.com)


INSURGENCE, THE:
Self-titled: CD
First full length from this Seattle five piece. Produced by Jack Endino, who also produced the last Valient Thorr record. “Honor Killing” and “Barbed Wire Fences” caught my ear. Live, I bet these dudes go for the throat. Check out the enhanced content on this CD to catch the lyrics (which sometimes go by in the songs in a flash) and a video for “K Street Killers,” a song from their first EP where they express their wish to blow this street to smithereens. Just not when I am driving nearby, okay fellas?    –koepenick (Digital Warfare, digitalwarfarerecords.com)


HOMICIDES, THE:
Black Leather Redneck: 12” EP
When a band has a song called “I Fuck Girls Too Young for Me,” they have my undivided attention. And it’s even better when their music can back up subject matter like that. Not some pussy pose or some affected snot-nosed bullshit, The Homicides are knuckles dragging across the ground punk rock that isn’t afraid of upsetting anyone. I imagine they revel in it. I hope they do, at least. I love punk most when it’s not looking to make friends with everyone. Loud, brash and uglier than that hag you took home last night when the house lights came on at the bar. At least here, you have no regrets the next day. They cover the Fuck Ups (SF) “I Think Your Shit” quite well, and that should be an indicator where these miscreants are coming from. –Matt Average (Vertex Audio, vertexaudio@gmail.com)


HOLLOWPOINTS:
Old Haunts on the Horizon: CD
I still buy Vans. There is a Vans outlet in my local mall and every year I suck it up and go in to get a couple of pairs of shoes. The only real decision I have to make is which combination of black, blue, or grey to get. When you are in the Vans store, there is an endless loop of band videos playing on a monitor hanging over your head. The loop alternates between the screaming metal bands with rap or emo choruses and non-descript pop punk bands like The Hollowpoints. These guys are extremely competent. The singer sings well. The riffs are produced. Very professional. Very uninteresting to me. When I was a kid, I hated when old punks dismissed the bands I like, so if this is what the kids are into, then these guys do it well. The songs are at the speed of NOFX without the advanced sense of humor. There is not much there for me. You lousy kids, your music all sounds the same. –Billups Allen (Sailor’s Grave)


HIPBONE SLIM AND THE KNEE TREMBLERS:
The Kneeanderthal Sounds of: CD
Leave it to a buncha limeys to grace us with a pitch-perfect blend of the finest in American roots music. Embedded into the, uh, sequences of ones and zeros here are the ghosts of Buddy Holly, Bo Diddley, early Johnny Cash, Link Wray, Carly Perkins, the Ventures, and even a little of what made early Stax Records so swell. Sounds stale, don’t it? Well, these guys are so goddamned good at what they do that they sound as fresh, vital, and timeless as their heroes. Yup, they’ve walloped us with another stunner. –jimmy (voodoorhythm.com)


HEXTALLS, THE:
Get Smashed: CD
Competent, knowingly dumb (at least I hope it’s knowlingly), pop punk in the vein of the Queers (when they’re not being a surf band), Chixdiggit (or at least from what I can remember from the couple times I listened to them), or maybe the early Blink-182 stuff (before they were able to keep from putting boner jokes in their power ballads). I don’t think there’s exactly a glut of bands doing this kind of pop punk anymore that aren’t the Queers (who, at this point, are probably trying to be a ‘50s doo wop band), so if it’s your thing, this is worth a couple spins. I’m realizing that’s not really pull quote material, but so it goes. The odd: It’s really weird to start off your album with chanting the name of your singer. I dunno how I feel about that. –Adrian (Self-released, thehextalls@hotmail.com)


HAMBURGER HELP ME:
Awesome Garys E.P.: 7”
I assumed I’d love this as soon as I saw the goofy cover art/concept, the fact that it has twenty-two songs, is on Fart Records, and, upon closer inspection, appears to be a new incarnation of The Fuck Yeahs. Then I put it on, heard that they sound like a cross between Henry Fiat’s Open Sore and Teengenerate, and confirmed it. Absolutely fantastic stuff. Most bands that would try something like this would probably just sound like a mess, but this is some great garage-meets-power-thrash. –joe (Fart)


GRABBAG:
Look up Look Down: CD
You sent us (me) a semi-transparent CD. I’ve never seen anything like it. It wouldn’t play for me so I listened to the new Leatherface album instead. It’s soooo good! –kurt (southernshedpunk.com)


GOODNIGHT LOVING:
Arcobaleno: 12” EP
A one-sided dealie here, with five tunes on the A-side and a screen job on the flip. The opener, “4&3,” has a vaguely Munsteresque feel to its rhythm. The rest have a mellow ‘60s feel to ‘em, with maybe a smidge of southwestern twang thrown in to give things a little texture. –jimmy (myspace.com/wildhoneyrec)


GENERAL INTEREST:
Self-titled: LP
Minutemen-cribbed stuff with loping, funky bass lines, tight drumming, guitars straight outta the Gang Of Four playbook, and a singer who prefers sarcasm to D. Boon’s political shouting. This ain’t an easy road to tread, but they manage to handle themselves quite nicely. –jimmy (generalinterestpunk@gmail.com)


FUTURE NOW, THE:
Hazy Orange Sunday: CD
Dudely alternative rock with a debt to the commercially savvy bands that popped up post-Nirvana. If I listen really hard, I can hear snatches of Foo Fighters and Queens Of The Stone Age, but the overall feeling is more “Stone Temple Pilots’ opening act” than “satisfying rock journeyman.” CD comes with free soul patch. –CT Terry (Sound Study)


FUTURE NOW, THE:
Hazy Orange Sunday: LP
This LP was a big shocker for me because it’s a genre I thought was pretty much done. Some songs sound like Soundgarden covers while others sound like early Foo Fighters covers. Let me clarify that it’s not nearly as good as any of those bands, but is merely going for that specific sound. The last song actually is a cover, and the best one on the album. These guys pull off a pretty rocking “Hollywood Babylon,” but, then again, it’s pretty hard for that song to not sound badass. I just feel like I’m listening to “alternative” radio during the ‘90s but can’t recognize any of the songs, which wouldn’t happen, as I listened to the radio obsessively during junior high. –Rene Navarro (Sound Study)


FUNGI GIRLS:
Turquoise Hotel: 7”
Lo-fi garage pop with an early ‘60s influence. The guitars teeter on a surf style, but don’t go all crazy. This stuff is more of a laid-back listen. The title track is slightly more interesting of the two songs on here (the B side is totally forgettable). The vocals are somewhat sleepy while the music is mid tempo. But there’s nothing really here that’s entirely interesting to warrant more than just a couple listens. All in all, this is just okay. –Matt Average (Hozac, hozacrecords.com)


FUCKING COPS, THE:
Demo: CD-R
Heavy duty post-Hüskers/Leatherface punk stuff here, with nice interaction between distinctive guitar parts and Joe-type lyrical subject matter. Their Achilles tendon, like too many others riding the same groove, is the vocals. The first track’s cool shimmer is marred by all the virtually atonal shouting, and while the assorted voices tone it down a bit and show the required potential on the remaining three songs, the lack of dynamics and attention to details, starting with hitting the note, keep this planted in the “good” rather than “holy sheeit!” pen. They’ve got the music down pat. If they get the singing on equally footing, they’ll be all but unstoppable. –jimmy (bigpurplerecords.com)


FLYSWATTERS, THE:
Brain Dead: CD
Primitive thud-punk with a U.K.-via-SoCal feel to it, situating itself somewhere between US Bombs and The Stitches. Simple, direct, and completely unapologetic about it. –jimmy (myspace.com/theflyswattersmusic)


FISTIFUKS:
Self-titled: LP
Looked back in the archives and saw that I reviewed a CD-R from this band. Looks like I didn’t care for it. Hate to say it, but this didn’t move me either. Average, mid-tempo punk rock that has that mid-’80s Mystic Records feel going with angry lyrics. The recording and packaging are done well. Nice silk screened covers. Looks like it’s limited to 200 copies, since it’s hand numbered. I probably would enjoy it more in a live setting than hearing the recorded output. –don (FYBS, fybsrecords.com)


FICTION REFORM:
Revelation in the Palms of the Weak: CD
This starts off sounding like a mix of Pennywise and Distillers. The songs are certainly adequate in that vein, but never quite take off. One problem for me is that the vocals don’t quite gel on some of the songs. The singer, Brenna, seems to have her voice pushed unnaturally far up in the mix on some of the songs, like in the lead track, “Whites in Their Eyes.” The parts where this stands out to me are the later tracks where the band slows down, like “Come Back Home,” which is a ballad that’s mostly multi-tracked vocals and an acoustic guitar, and the dirgey “180 Avant Garde.” These more low key songs are really good in the way that some of the moodier later day Distiller’s stuff was, or maybe a less rockabilly Miss Derringer. I would definitely check out more stuff of theirs that followed that route. –Adrian (Basement)


FED UP:
Discography 2004–2009: Cassette
The lyric-less insert that accompanies this cassette claims that this is “tooth chippin’ fastcore.” I’d be hard up to find a good argument against this being fastcore; however, I walked away from this tape with all teeth intact—well, no different than when I pressed play. The guitarist knows a few chords. The drummer knows one beat: the fast one. The bassist probably stares at his or her bass. And the vocalist screeches out the lyrics like he is being poked with a stick. Add that up to get an all right-sounding band…kind of. The first side is made up of two demos, a live set, and two comp tracks; it is pretty unlistenable due to poor quality recording. The back side is a bit better with only three demo tracks, the quality of which I can’t totally recall. This side also has two EPs and a split, which constitute the best material on the cassette. The sequence is chronological, and the band seems to have gotten better as time passed. If you are the type that likes to have all recordings by a band that did some pretty okay stuff and you missed out on the earlier releases, then I recommend the tape; otherwise, I would try to seek out their 7” with the Altered States rip off cover. –Vincent Battilana (Intellect, intcollective.com)


FAILSAFE FOR TOMORROW:
Give up the Ghost: CDEP
I went on tour back in 2005 as a roadie for a band and we toured with a band from Ontario called The Reason. This is pretty much the exact same sound as them except maybe a little less hardcore. It’s definitely punk-influenced, with a tinge of hardcore riffing and one clean-singing guy and one guy who screams. This is also known as the poor man’s screamo. You’ve (unfortunately) heard this before, I’m sure. I’d rather listen to Portraits Of Past. –kurt (Koi, koirecords.com)


EUROTICS:
Self-titled: Cassette
Apart from sheer nostalgia for people of a certain age ((and perhaps consideration for those of us who still drive motor vehicles manufactured after 1980 but prior to 2003)), there really are no abiding reasons why anyone should ever release anything on cassette again, ever. Cassettes were a fucking DUMB format. Their fidelity decreased every time you played them, they got dusty and warbly and fucked up, they got twisted and kinked and snapped, tape transport from song to song was a time-consuming and aggravating pain in the ass, and every now and again your cassette deck would just randomly eat a tape, sort of like Charlie Brown’s kite-eating tree, but less epic. About the best thing i could say for pre-recorded cassettes ((as opposed to mix tapes, which still remain the gold standard for such things)) is that if you didn’t like what was on there, you could tape over it. That said, some of these vaguely Heartbreakery/Lurkery mid-tempo basement punk tunes are fairly catchy and well-written, but most of ‘em are ruined by rampant tempo fluctuations every time the drummer attempts some kind of too-fancy fill or other dramatic barrage. I’d be interested to hear what they sound like in a year or something, especially if some sort of virus strikes down dead all digital music and causes the planet’s vinyl to spontaneously turn into an unplayable meringue-like substance, leaving magnetic tape as my sole entertainment option. BEST SONG: “She’s Like a Hangover” BEST SONG TITLE: I guess that is also “She’s Like a Hangover” FANTASTIC AMAZING TRIVIA FACT: Of the three cassettes i got to review this month, this is the only such cassette that was decent enough to arrive with the knock-out tabs intact, meaning that i can tape right over it without having to undertake the additional step of putting a piece of tape over the little holes. Thanks, pals! –norb (Richmond SS)


EXTRAVAGANZA, THE:
Too Dumb to Die: 7” EP
With some really stupid lyrics like the song “Just another Fag,” I was expecting to hear some really blazing punk. Usually dumb bands make the best music. Unfortunately, that’s not the case here. The Extravaganzas play some pretty tepid punk-by-the-numbers. Weak attempts at being offensive and sticking close to the tried and true punk rock clichés of life being a waste, being a total fuck up, and the usual. Maybe their friends find them amusing. That won’t last long, though. Blehhhhh... –Matt Average (Mortville)


EXTRAVAGANZA, THE:
Too Dumb to Die: 7”EP
Side one: Passable bar punk’n’roll from Austin. Mid-paced. Snotty. The world was lousy with bands like this in the early and mid-’90s. Some really good—like the Monomen, Loudmouths, Motards—many forgettable. The Extravaganza are mediocre. Side two: A song called “Just another Fag.” If that’s the level this band’s on, and that’s the audience they’re hoping to attract, fine. It’s a free country and I’m not a cop. If it’s a poke at PC people in the “spirit” of GG Allin or the Mentors, you gotta keep your message consistent by cranking all the songs in that direction and leave out the emo-ish lyrics (“I ain’t got the words for what I want to say to you”) that GG or El Duce would justifiably head butt you bloody for singing… and then fling poop at you or launch into a song about raping your girlfriend. Meh at best. –todd (Mortville)


EUROTICS:
Demo: Cassette
The cover photo is of a topless woman with a paper bag over her head. The band’s web address is myspace.com/richmondss. I was hoping for balls-out raunch, but just got generic rock’n’roll riffs and sexually frustrated lyrical grousing, recorded in a wet refrigerator box. To borrow a term from a Ben Stiller movie (my bad), if you’re gonna go for shock appeal, then you have to go “full retard,” like The Dwarves. If you pull your punches, you’ll just come off like a stunted loser. –CT Terry (myspace.com/richmondss)


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 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 689 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 705 706 707 708 709 710 711 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 755 756 757 758 759 760 761 762 763 764 765 766 767 768 769 770 771 772 773 774 775 776 777 778 779 780 781 782 783 784 785 786 787 788 789 790 791 792 793 794 795 796 797 798 799 800 801 802 803 804 805 806 807 808 809 810 811 812 813 814 815 816 817 818 819 820 821 822 823 824 825 826 827 828 829 830 831 832 833 834 835 836 837 838 839 840 841 842 843 844 845 846 847 848 849 850 851 852 853 854 855 856 857 858 859 860 861 862 863 864 865 866 867 868 869 870 871 872 873 874 875 876 877 878 879 880 881 882 883 884 885 886 887 888 889 890 891 892 893 894 895 896 897 898 899 900 901 902 903 904 905 906 907 908 909 910 911 912 913 914 915 916 917 918 919 920 921 922 923 924 925 926 927 928 929 930 931 932 933 934 935 936 937 938 939 940 941 942 943 944 945 946 947 948 949 950 951 952 953 954 955 956 957 958 959 960 961 962 963 964 965 966 967 968 969 970 971 972 973 974

| 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|

Razorcake Podcast Player


·VACATION
·Thank You, Anarchy: Notes from the Occupy Apocalypse
·CATALYST, THE / BRAINWORMS
·CASHIERS DU CINEMART #11
·THIS TIME LAST YEAR
·DEAD MECHANICAL
·VARIOUS ARTISTS
·WHAT THE KIDS WANT
·DUKES UP


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.



 
Razorcake/Gorsky Press, Inc.
PO Box 42129
Los Angeles, CA 90042

Except for reviews, which appear in both, the
contents of the Razorcake website are completely
different from the contents of Razorcake Fanzine.

© 2001-2015 Razorcake/Gorsky Press, Inc. Privacy Policy

Razorcake.org is made possible in part by grants from
the City of Los Angeles, Department
of Cultural Affairs and is supported
by the Los Angeles County Board of
Supervisors through the Los Angeles
Arts Commission.
Department of Cultural AffairsLos Angeles County Arts Commission


Web site engine code is Copyright © 2003 by PHP-Nuke. All Rights Reserved. PHP-Nuke is Free Software released under the GNU/GPL license.