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Record Reviews

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Below are some recently posted reviews.

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HANNA HIRSCH:
Tala Svart: LP
Finally available on vinyl, this record is an ice princess amongst snow mutants. Siri has such a powerful, pleasant voice while Anders, Johan, Lars, and Andy crank out the Scandi-rock. Imagine El Banda, The Assassinators, or La Fraction filtered through some Swedish sensibility and served up with some non-intrusive keyboard. Beautiful, both in sound and concept. For the last couple years the CD has been in regular rotation around Razorcake HQ, and I can’t see it falling out anytime soon. –Daryl Gussin (Adagio 830)


HAMBURGER HELP ME:
Awesome Garys E.P.: 7”
Twin Cities slop hardcore featuring members of the Fuck Yeahs, Chooglin’, and Sweet J.A.P. When it comes to song titling, these guys are fucking top notch with songs like “Heavy Metal Unicorn,” “Sex Jacket,” “Dog with Ham,” “Boner,” and “Sausage Horse.” As far as writing punk rock that I want to listen to repeatedly while lounging at home, not so much. This largely stems from the fact that there are twenty-two songs on this ten minute long 7”, which leaves most it sounding like random thrash snippets. However, it does speak even more highly of their song titling excellence because they have to come up with a fuckton of titles. They “sell out” on a couple songs that are over thirty seconds and have some pop hooks like “Female Fonzie,” which I like a lot. The day I first listened to the record, I saw Hamburger Help Me at a bar in Minneapolis and, to be fair, I appreciated what they were going for much more in a live setting than this E.P. –Jake Shut (Fart)


HALF RATS, THE:
“For the Sake of Love” b/w “The Girl”: 7”
This is more of that “new old” I like so much. I imagine I am about to become saturated with it, but I like the sound of The Half Rats. Good songwriting without irony. Both songs are a fusion of ‘50s pop sensibilities with low-distortion and power pop riffs dropped in. The recording is lo-fi, but done in a way that leaves room for craft instead of just “being lo-fi.” Good songs, executed well. –Billups Allen (Douchemaster)


GYPSY:
Self-titled: 4-song CDEP
Is there a computer chip installed in my back—like those that keep track of pets—but for a total predisposition for catchy, underdog DIY punk? What the fuck? Gypsy’s a beautiful, unshowered, beat-up mess of a band. Vagabond Ryan Maddox, drummer of the Hidden Spots (also of Queerwulf and True Stereo) found himself in Las Cruces for a month. Instead of getting a honky bullshit job, he settled in with the natives, skated ditches, smoked a lot, and—I’m sure with little prompting—got Chris Mason (Shang-a-Lang) and Joe Ayoub (Marked Men) along for the ride to record at The Trainyard, an all-ages spot. Low-fi, linty, mismatched sock-y, disheveled life of questionable decisions DIY punk that totally hits the mark it was going for. This is the opposite of whatever’s being played over the in-house speakers at Guitar Center right this second. –todd (Dirt Cult)


GRANT HART:
Hot Wax: CD
First new record in quite some time for the ex-Hüsker Dü songwriter/drummer. It’s consistently a stripped-down affair, so don’t expect a blistering onslaught like his former trio. “You’re the Reflection of the Moon on the Water” features mysterious lyrics that help the song flow with precision. Grant is a storyteller, so that’s why out of nine songs there are three with names in the titles on this record. “School Buses Are for Children” features a wistful chorus: “school buses are for children/they need someone who wants them.” This song will end up really grabbing you by the end. “My Regrets” throttles the motor a bit, but by the time it is over, so is this record. There’s no “2541” here, but it’s still a captivating record that creates a somber mood which you’ll find hard to shake. –koepenick (MVD Audio)


GOVERNMENT ISSUE:
Joy Ride: LP
Cool that Dr. Strange is doing vinyl reissues of this stuff. Originally released on Fountain Of Youth in 1984, this was/is GI’s second LP. From what I could glean about this reissue, this is the European version with extra songs. For some reason I never picked this up when it originally came out. I’ve always liked these guys, even when the sound started to shift on the later records, which was the stuff I found I listened to the most. However, I don’t think this LP is entirely solid. There’s some filler on here, like the cover of “These Boots Were Made for Walkin’,” and the live tracks. Not to mention the pacing, which seems disjointed. That said, this does have songs like “Understand,” “Notch in My Crotch,” and “Joy Ride” which are great songs where they were transitioning from thrashy and raw to something more tuneful. –Matt Average (Dr. Strange, drstrange.com)


GOD EQUALS GENOCIDE / NO PEOPLE:
Split: 7”
Razorcake has some unwritten codes (there’s no book), things we think are common sense and DIY-moral. One of them is that if we have a hand in releasing a record, we won’t review it in these pages or on our website. It’s like, no shit, we like the band’s music. Why else would we release it? Well, GEG is one of my favorite bands. They happen to live ten blocks away from Razorcake and fit perfectly into our mission of celebrating local DIY without ignoring national and international punk. We’ve had our hand in releasing four of GEG’s previous 7”s. I couldn’t be happier. I just couldn’t comment on the band before this record without feeling slimy. My grandfather was a huge fan of musicals. He was a tough ex-Navy man then a tough ex-bill collector. He loved musicals. Julie Andrews got top billing. So did Pirates of Penzance. GEG embody that sort of tough sweetness of my grandfather. They’re fully aware of the ugliness that resides in the world, but they chose to surround themselves by a ragtag, engaging beauty that comforts them. They do this without being dogmatic; with an undeniable cheer. Think Bananas, Allergic To Bullshit, and in honor of my grandfather, The Sound of Music. No People: From Tokyo, Japan would fit well in San Pedro, California, especially with Underground Railroad To Candyland. Slithery, stealthy DIY pop gems (lots of keyboards) that are handled expertly, in a no-fuss, non-flashy, let’s-party way. Great pairing. Great split. –todd (Underground Government, undergroundgovernment.com / Recess Japan, recessjapan.com)


GG KING:
Babbling Voices: 7”EP
Bands can get like families. You’re brothers. You’re related. But you may hate your fuckin’ brothers. I know nothing of the interior dynamic that fueled Atlanta’s Carbonas or what lead to their breakup. All I know is that when the Carbonas called it quits, Gentleman Jesse released a fuckin’ great, neatly-dressed full-length and GG King—drummer then, guitarist now—has released a string of notable 7”s, this being one of them. Musically, it’s cool to retroactively hear how Jesse’s smart pop (think Peter Case not Peter Cetera) locked into GG’s dirty, angular minimalism (think Urinals not Ikea). This is some extremely solid, worn-denim stuff, reminiscent of early Reatards: arrested development, slightly paranoid, screechy and churny, and with an undeniable garden of nutritious hooks right under broken, sandpapery surface. –todd (Local Cross)


GET RAD:
I Can Always Live: CD
Get rad is right! Full-on thrash hardcore that doesn’t let up. I could see them playing shows with Frontside Five. I swear that just listening to this flipped the brim up on my hat and made me run around in circles. They have a song about pizza too! My only complaint here is that I had a hell of a time trying to read the song titles, thanks to the stupid font on the back. Small potatoes compared to how great this disc is. –ty (Hyperrealist)


GESTAPO KHAZI:
Self-titled: LP
These guys sound like they’re well versed in a lotta different strains of noise—late period L.A./early suburban art-punk, post-punk, even Morricone-influenced surf rock. The result is music that can hold its own on a bill with, say, TSOL or 100 Flowers, yet is much more sophisticated than those who usually pooh-pooh punk think is possible. –jimmy (Dead Beat)


GERM ATTAK:
Death to Cops: EP
I was under the impression these guys were some shitty crust punk band. Was I ever wrong! Instead, this Canadian outfit are U.K.-inspired punk, similar to the No Future bands: driving and catchy at the same time. The tribal drum beat is effective in propelling the songs forward at a decent pace. The guitar sound is thick and somewhat clean, while the vocals have a raspy edge, while still being clear and effective. Lyrically, they’re mainly anti-cop, and all-over anti-system. The most interesting song is “Siege,” which starts the record off. Urgent and direct, with lyrics about how the state has gone after people and movements that it has seen as a threat, or presented to the populace as a threat. A few incidents mentioned are Waco, TX, Ruby Ridge, Rainbow Farm, and M.O.V.E. A solid record the whole way through. Glad I picked this up. –Matt Average (Loud Punk)


GERM ATTAK:
Cruxshadow: LP
Has this band matured? Their previous releases sounded more in the vein of early Disorder meets Chaos UK. The sound was primarily a raw buzzsaw affair. The current sound is reminiscent of UK82 bands like GBH, Exploited, and the Partisans. But not like a copy; sounding like they actually came from that time period. Only thing missing would have been the use of heavy reverb on the vocals. That was used quite frequently back then. The songs that are played with a more controlled mid-tempo groove come off more melodic and memorable. Instead of being attacked with a distorted din, the songs have an infectious tone to them that makes you want to put a pint in the air and maybe bring back the pogo. I’m really impressed with the growth of this band. Fifteen songs that got repeated listens and deserved the time spent on the turntable. –don (Loud Punk)


FUCKING COPS, THE:
Demo: CD-R
I so wanted this to suck. I was going to go all Spinal Tap on this demo and write a brilliant two word review. Under the title of the CD it was just going to read “Fucking sucks.” Sigh… seems things never work out for me, because this is really pretty good. It reminded me in parts of the Gibbons, except with way better guitar playing. The songs are all catchy and rock in all the right ways. Maybe I can salvage my two word review: Fucking awesome! Check these guys out. –Ryan Horky (Big Purple, bigpurplerecords.com)


FOLDED SHIRT:
Self-titled: EP
Tripped out and twisted up punk rock from another reality. Mix Mentally Ill with Chrome and early Sonic Youth and you’ll get Folded Shirt. Larry from the Darvocets fronts this group, so you know it’s not some typical garbage. Guitar strings are pulled in directions they were not meant to be, bass lines throb and pulse, and the drums sound a little hesitant, oddly enough. “Crazy Eyes” is the best track on here—with the backward running tracks—and the whole warped tone it gives, while “Go crazy eyes” is repeated over and over. When the acid turns bad and everyone else is having fun at your expense. Seems only Cleveland can produce bands as good as this. –Matt Average (Fashionable Idiots, tchardcorejouranl.com)


FLAT TIRES / ASOUND, THE:
Split: 7"
This is an excellent split of two non-traditional North Carolina punk bands. The Asound has a classic rock and psychedelic influence that might be a bit off-putting at first, but their side is undeniably driving. Even catchier is the Flat Tires side, which is a smoking hot mix of punk and country. Country has been mixed with punk with varying degrees of success over the years, but Flat Tires strike just the right balance of twang and hardcore. Each band delivers two solid tracks of Southern barbecue-able fun. This 7” comes housed in a beautiful sleeve illustrated by ANTiSEEN’s Jeff Clayton, perhaps the best-known NC punk icon. Needless to say, this record comes highly recommended. –Art Ettinger (Zodiac Killer, zodiackillerrecords.com)


FIX MY HEAD / KNIFE IN THE LEG:
Split: LP
Decent split here. Fix My Head are blazing hardcore with a vocalist who has an awesome, bellowing voice. His voice hits like a ton of bricks, and I have to say, really gives the band’s sound a tough edge. The music is fast and abrasive, but there are some layers as well. “Wish” is my favorite on here. The guitar accentuates the twisted outlook presented in the lyrics. The only throwaway on here is “Mission: Hipster.” Hipsters have “plagued” that area for a long time, so why bother with writing a song about it? There are far more pressing issues in this world that need addressing. Knife In The Leg remind me of Sista Sekunden, with their tuneful hardcore and vocal delivery. “New City Looks” is a scorcher. Fast and relentless. While KITL are good, their lyrical matter tends to stick close to critiques of punk. I find that sort of stuff too easy. Where’s the real protest when all you can do is fight amongst yourselves? If you’re doing a record, you should make every inch of that vinyl count. It’s like if you have a patch of wet cement. Are you going to take that opportunity and write something like “Death to posers!” or something more relevant and universal like, “Ever feel like killing your boss?” Just to be clear, both bands on here are really good, and I hope to hear more music from them soon. –Matt Average (Inimical, inimical.com)


FINAL CONFLICT:
In the Family: EP
Not to be confused with the Final Conflict from Southern California. This Final Conflict was from Minneapolis, and around long before the better-known FC. Originally released on Reflex in 1983 and produced by Bob Mould. Yep, that Bob Mould. I first came across this record in the MRR collection years ago. Ever since, it’s been on my “really want” list. Even bid for it on eBay once a few years back. But it went out of my price range pretty quick. So, I’m pretty stoked that Havoc reissued this. These guys were fast hardcore similar to early Die Kreuzen. Something about the Midwestern hardcore bands of that time is that they had this undeniable raw power that the majority of bands on the coasts lacked. The songs are crushers with an abrasive edge and a vocalist who sounds like he’s on the verge of coming unglued. Four songs in all and it’s a great listen the whole way through. –Matt Average (Havoc, havocrex.com)


FEVER B:
The Lonely Sailor Sessions: 12” EP
I don’t know if formats get any better than this: 12” that plays at 45 RPM with the same program on both sides. I also don’t know if I’ve heard anything this good recently. Imagine The Nerves coming out fifteen years later and recording in a bedroom after having listened to Teenage Fanclub and early Ramones. Supplement that with a soft-voiced rocker who exudes a striking amount of self confidence in his concerned-yet-suave delivery. Note the subtle hint of Big Star. Now be amazed by the results: fuzzed-out power pop run through an indie rock filter that has an appreciation for punk. (From what I found on the internet, this is one of the guys from The Fevers, whom I checked out after hearing this; they are good but not nearly as good as this. I do believe that I also read that Fever B actually recorded this a while back.) This one is limited to 500 (at least numbered out of 500) and comes in a screen-printed jacket with hand-stamped labels. Don’t wait. I really don’t know how this got outta HQ and into my hands. I can’t recommend this enough. –Vincent Battilana (Burger)


ERGS!, THE:
Thrash Compactor: 1-sided 7” EP
Ostensibly, this is the last Ergs! vinyl to ever be released (assuming no reunions and/or live shows making it to vinyl a la Scared of Chaka). Thrash Compactor is a blood-clotted slapshot of five songs that would make The Neos or (short-hair) DRI proud. What makes me proud is that this 7” doesn’t come across as “Oooh, we’re a punk band (insert Homer Simpson prancy dance and finger waggling). Wouldn’t it be weird and funny to play all fast and thrashy?” Nope. It’s a bonafide thrash record made by a bunch of dudes who inflated the pop punk bubble past most people’s previous expectations, filled it with enough genres to kill a rhinoceros, then popped that bubble. The Ergs!, from their first record through the last, made music sound like a hell of a party. This one sounds like a bolt of lightning hitting the top of the capitol building. Viva Los Ergs! –todd (Grave Mistake / Firestarter)


ENEMY, THE:
First Album: LP
Not at all what I was expecting. Judging from the red, white, and blue silk screened cover of some tripped-out shit, I was narrow minded in thinking I was about to hear some noise damaged art skronk. I was actually looking forward to hearing something along those lines. Instead, what lies within this retina-damaging cover is some mid-tempo punk rock that reminds me of recent bands like the Red Dons, Estranged, Cola Freaks, and the sort. Maybe a little bit of early Wire (particularly in the song “I Won’t Let You Waste Me”) in there as well. There’s a member from the Secret Prostitutes in here as well, which comes as no surprise, as both bands sound similar. After my initial surprise wore off, I found myself playing this record over and over. As it revealed itself with each subsequent listen, I became most confident that this is a great record. It’s not over-the-top, in-your-face, bash-you-over-the-head-with-a-riff sort of stuff. The power is something longer lasting, with a little restraint, pacing about like a prize fighter. –Matt Average (Team Science, teamsciencerecords.com)


DRUID PERFUME:
Don’t Eat ‘Em They’re Poison: 7”
Follow-up to their full-length LP, which I haven’t heard. But this is pretty fun. Mucky muck weird punk rock, from the school of “If we can’t win them over, we can pound them into submission.” It’s not calculus rock, but it does feel like some thinkin’ is going on with weird vibes, drones, plodding along with weird timing and a constant fuzz mess. AND complete with saxophone! Singer sings strained screams—reminds me of the ‘90s vibe when garage rock started crossing over with noise jazz, drifting into four and five minute-odd songs. Label says the band has two members of the Piranhas. Ahhhhh, now it’s making sense. –mike (X!, x-recs.com)


D.R.I.:
Crossover (Millennium Edition): LP
I remember when this record came out. Suddenly people who would not have even bothered to listen to Violent Pacification or the Dirty Rotten EP/LP were listening to these guys. While it’s certainly a milestone in the history of hardcore and metal, I don’t necessarily think this album is all that good. There are a lot of clunkers and, when compared to the early stuff, it doesn’t have the same fire. DRI raised the bar for bands in the realm of how fast can you go, and all fans of thrash are eternally grateful. They had a huge impact on crossover, but along the way they lost the punch of the early stuff. Was it to reach a larger audience as many accused them of? No idea there. But I do know I’ve tried to get into this record ever since it came out. A few of my friends thought this album was awesome. I just could never get into it. Still can’t. But, if you’re a diehard fan, this edition comes on red vinyl, and is remastered. The CD version comes with extra songs. –Matt Average (Beer City, beercityrecords.com)


DRUNKEN BOAT / DAN PADILLA:
Split: 7”
Drunken Boat: Blurry-eyed. Ragged-voiced. Dirty-charming. Alcohol-soaked glimmers of hope seen floating above tatters of wreckage. Catchy, frayed-end DIY punk in line with Bent Outta Shape and Ringers. “Shoot and Miss” is a song about the death of a close friend and musician and these two songs are some of the strongest material I’ve heard from Drunken Boat. Dan Padilla: Here’s a bear trap. Members of this band have, undeniably, inspired the launching of boatloads of gruff-voiced, sparkling guitar “win by losing” bands, where their charm lies in not taking themselves too seriously but giving everything to the music they play. Here’s how they avoid stepping in the bear trap they set: It’s not a band standing around going “what should we sound like?” But “I need to get this out or I’m gonna go crazy,” and it happens to take this bear trap shape, waiting for you to come poking around the forest unawares to snap its jaws around your foot, to chomp on down, and not let you go without a hell of a fight. –todd (Must Yearn, drunkenboatpdx@gmail.com / Fast Crowd, fastcrowdrecords.com)


EASTER MONKEYS:
Splendor of Sorrow: CD
The Easter Monkeys were a Cleveland punk band from the early 1980s, as you might guess from their label association. Splendor of Sorrow is a collection of their sole LP, some live tracks, and a few scattered comp tracks. If you enjoy other stuff Smog Veil has released, I’m sure you’d like this too. It’s pretty rocking generally, and there’s some great saxophone skronk over the rock. –Ryan Horky (Smog Veil)


DEVOUR:
Insect Circuitry: EP
I like the darkness that’s in the music and lyrics on this record. “Laugh Track” offers a bleak opinion of society: “People these days / Just character sketches...” then ends with “Where’s the laugh track for your shitty life? Right here on my lips.” I thought their LP from not too long ago was really good, and this pretty much picks up where that left off. I can hear definite nods to the early style of COC and Neurosis, and these guys use those influences well. Tempos range from mid to semi fast. There’s a heaviness that hangs over this whole record, and none of it is sacrificed for speed. Instead, this is a slow steady burn. The sort of record you listen to and bask in your contempt. –Matt Average (Headcount, headcountrecords.com)


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·DEATH IN THE PARK
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·WHEN THERE IS NONE
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