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Record Reviews

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Below are some recently posted reviews.

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THANKS:
It’s Not Funny: CD-R
Thanks delivers power pop punk with gritty vocals that are washed with reverb. Most every tune here is a mid-tempo stab that sometimes explodes into choruses, such as the song “Life Is Worth Living.” The song “Butter Nut Squash” has one of those sing-songy choruses that will bounce around in your head all day. These guys saved the best for last with their anthem pop song, “No More Unicorns,” which lyrically takes clever stabs at the online MP3/computer business of music. This album has that lo-fi, DIY endeavor of love vibe to it. What they lack in frills, Thanks makes up for with some fun songs. –N.L. Dewart (Thanks)


TAX PAYERS, THE:
Self-titled: CD
Okay, so right off the bat, I would like to say that the packaging on this thing is the coolest. I’m not sure it if it’s just for Razorcake, but they included little trinket gifts in the cardboard case (a negative slide, comic cutout, and Kiss trading card). The front cover is a nice little drawing of a wood house that gets you all excited about listening to what’s on the inside. If you’re looking for something that you’re really going to like, you should just go ahead and get this CD next time you have some extra change. You can download the album for free at quoteunquoteRecords.com and they are a donation-based record label that you should make yourself familiar with if you aren’t already. I love when bands give away music for free because that’s what it’s all about, right? Supporting music we love and supporting them so they keep us entertained on the weekends with a drink in hand. I love this band and couldn’t be more thrilled about my discovery. This is just what I needed to inspire me to go out on a school night! –Corinne (Useless State)


SYSTEM AND STATION:
I’m Here to Kill: CDEP
‘90s-influenced angular rock from this Portland four piece. These guys would get along great at a happy hour where Dropsonic and Traindodge were also lifting back cold daddies. This six-song EP kicks off the dust on “Highway Crawl” and keeps reaching for greater heights on each passing minute. “I’m Here to Kill” is about some lunatic chick, but you don’t have to be nuts to enjoy some down time with this band. –koepenick (Latest Flame)


SUBURBAN SHOWDOWN:
Any Minor Inconvenience Must be Eliminated: CD
Suburban Showdown’s one of those bands that you’ve heard approximately one trillion times before and you most likely know well before you actually hit the play button if it’s going to be your thing or not—it’s gruff and growly and repetitive and firmly entrenched in all the trappings of crust punk. All the requirements are here: A-B-A-B rhyme schemes, stark black and white graphics, a Discharge cover. However, they’re also keeping things at a relatively amped-up pace—we’re only looking at ten songs—and they’ve managed to tackle an interestingly broad range of topics, both as punk consumerists and those in the outside world. Ultimately, they’re pissed, and there’s a great howling undercurrent of fuzz on those guitars, and while this particular genre is pretty played out for me personally, there’s no doubting the fact that Suburban Showdown manages a pretty nice attack here. –keith (Rodent Popsicle)


TEENAGE WHORE MOANS:
Moan All Nite Long: 7" EP
Simple, sloppy garage rock. As with a lot of records I get, I assumed I’d hate it just from looking at it (this time fearing they’d try to come off as “We’re super bad ass!”), but it’s not bad. If you like stuff that vaguely toes the line between garage and dirtier pop punk, you’d probably be into this. And in a fantastic “joke blown up in our face” (which is probably my favorite kind of joke) moment, they point out “not produced by Jay Reatard” on the record sleeve. –joe (Eaglebauer)


SUBMARINE SPACESHIP:
Self-titled: CD
Like their band name, this band is a combo of two things that don’t usually mix and sounds like some hippie bullshit. This makes no sense because the really cool, hand-done artwork on the packaging is badass and I had my expectations really high because of said artwork. There is one song that has, no joke, about a minute of dead air. They can go straight to hell with that shit. I’m not a psychic interpreter where I can just look into my crystal ball and see the music. You have to actually play something, you jackasses. The song “Brian Wilson” is fun and I want to give them credit for that… even if they do suck at mastering a record. –Corinne (Gnarly As I Wanna Be)


STUPID PARTY:
Self-titled: LP
Socrates’s hemlock: poisonous, self-inflicted, said to have slowly numbed his body part by part until the chill had taken him to death. Probably tasted like shit. Put it in two packets of Splenda, don’t stir them in, and you’ve got this LP. Sludgy, venomous punk that relents for some softer, sweeter moments—all over feedback that is the ringing in your ears as you romanticize the fallen structures around you. Then it’s back to the apocalypse. If you can’t envision the luminous portrait I’m painting for you—uh, it sounds like they stole Nirvana’s gear from the Bleach sessions then hid from the cops in a broom closet until the cabin fever and paranoia drove them insane. They’re really high from the fumes of all the cleaning products in said broom closet when they decide to switch between quickly aborted attempts at “jamming” and Carrie Nations covers they don’t know the words or chords to. Lots of people think this band sounds like a fucked-up disciple of Hickey. I see it, but, unfortunately, also in the gimmicky insert/”band bio.” It’s funny but seems a bit affected. Highly recommended if you want punk that’s interesting, not just awesome. –Dave Brainwreck –Guest Contributor (Freedom School)


STEREOPHONIC SPACE SOUND UNLIMITED:
The Spooky Sound Sessions: CD
I think i know what makes this stuff “stereophonic,” and i think i also know what makes it “sound,” but i’m not as sure as what makes it “space”—or, for that matter, “spooky.” Expertly executed, generally keyboard-driven instrumentals that seem to have one foot in Joe Meek-ism ((which i guess would be the “space” part, what with the “Telstar” connection and all)) and another in 70’s pre-disco soul-pop ((a la the theme from Shaft, “Brother Louie” by the Stories, and even Santana’s weird scrapey torpedo thing)). I guess i prefer the stuff that’s more of a flat-out Austin Powers deal ((“Do The Lurk Around”)), and i’d much rather listen to my instrumentals in compilation form ((more interesting somehow)), but, on the whole, i’m sure this is excellent background music for some manner of enriching activity—i’m just not so sure that activity involves bedding hot alien chicks togged out in silver mylar, and that’s a shame. BEST SONG: “Do The Lurk Around” BEST SONG TITLE: “Do The Lurk Around” FANTASTIC AMAZING TRIVIA FACT: Ah. “Spooky Sound” is a record store in Switzerland. Now i get it. –norb (Dionysus)


STATIC OF THE GODS:
Knowledge Machine: CD

This Boston three-piece makes some great, fuzzy, ambient rock with female vocals reminding me somewhat of Stars or Gregor Samsa. While the layout of the album is a wintry feel with pictures of icebergs, the sound also seems fitting for a cold night tucked under the covers. There’s a warm vibe somehow making its way through in the midst of the cool, atmospheric quality of the music that bares a resemblance to many an instrumental act such as Explosions In The Sky or Joy Wants Eternity. Not a bad release, especially for fans of expansive instrumental bands with effective, smooth, female vocals overriding it all.

 

 

 

–kurt (staticofthegods.com)


SPIDER BAGS:
Self-titled: 7"
Man, Spider Bags really has a gem with their song “Teenage Eyes.” Dan McGee’s vocals are drenched in reverb, a style that works perfectly for their back-in-the-day rock sound. This tune reminds of what you’d expect to hear from a Mooney Suzuki record. The simple intro guitar riff is catchy and drives the song speeding along. Also, the line, “Next to me, you’re next to nothing,” is pretty smart. Because this record only has two songs, I don’t feel like I have a complete picture of what the Spider Bags are all about, but, based on these tunes, I like them. –N.L. Dewart (Odessa)


SORELLA MALDESTRA:
Maltempo: CD
Don’t try and understand the words if you are a primarily English speaker because it’s in another language. I tried to give it an honest shot and it’s just too much for me. There are weird noises in the background, like alien spaceships and telephones. It’s rock, that’s for sure, but I can’t pin point what the hell else it is. I’m just glad that I don’t have to listen to this again because I was going to stab someone. –Corinne (Banksville, banksvillerecords.com)


SONS OF HERCULES, THE:
A Different Kind of Ugly: CD
…went to go see TSOH during the Razorcake Drunken Invasion of SXSW 2004, only to find that, owing to a member apparently vomiting blood that morning, they had been replaced by the Bloody Tears ((which, of course, begs the question of why they weren’t replaced with the Bloody Pukes)). This September i was in Austin for business, and found out that The Sons were playing at the Continental on
Congress Ave.
Since my hotel was on the corner of 7th & Congress, i figured i’d just bop down the street for a few blocks and check ‘em out, so i took a right on Congress and walked down to the Capitol, walked through the Capitol ((nice Capitol)), came out the other side, and kept walking until i hit the University of Texas campus. No Continental. Calling my lifeline—Cheap Trixie of the Texas Rollergirls—i was informed that, yes, i had walked in the completely wrong direction…so i walked the mile-and-a-half back thru the Capitol and to the hotel, then walked about two more miles in the opposite direction to the show, then walked the two miles back to the hotel afterwards. All in all, i’d estimate i walked like seven miles and waited five years to see this goddamn band, so i got some sweat equity in the product—thus, when i say that i don’t ever see this band scoring higher than a B+ on any given rock-rock-rock-rock-rock’n’roll report card, i hope that’s not viewed as Texas Garage Punk Heresy ((plus i never really see them getting less than a C- on the low end, so it all kinda averages out in the end, maybe)). I mean, i own a bunch of TSOH records, and i can’t say as i flat-out adore any of them—this one included—but i can’t say as there are any i don’t like, either. They’ve got a good base goin’—the principal forces behind the band are a fraction of a generation older than myself, and you can tell that they’re from that half-decade or so that holds Iggy and Bowie and Blue Oyster Cult in the same sacramental regard as people my age hold the Ramones and Sex Pistols and Clash ((singer Frank Pugliese’s old band The Vamps once opened for the Pistols, or so they tell me))—but the problem as i see it as to why this never band has never gone over the top with me is that they just don’t write particularly interesting songs. The foundation is there, but i’ve never really witnessed anything spectacular being done with it, song-wise. Contrast this with some vaguely peerish band like, say, The Mullens—those guys could knock out catchy tunes every so often in a way i don’t see TSOH ever pulling off, which is probably why their cover of “(I’m) Misunderstood” by the Saints was the highlight of the show i walked seven miles to see ((then again, i like the Saints and i love parentheses, so perhaps the deck was stacked against ‘em from the get-go)). Same with the album: The originals are decent; the covers ((Saints, Lazy Cowgirls)) stand out. To my brief glee, i thought i was proven wrong by the album closing “Easy Action”—a grippy rocker so rousing i that it made me wish i was sitting around my living room all day, smoking pot and listening to Humpers CD—until i looked at the liner notes and found out that the song was originally done by Frank Pugliese’s 80’s band, the Mystery Dates. Thus, the top three songs on this disc are all covers, which seems to rudely underscore my original theory. That said, i’d walk another seven miles to see ‘em, but this time i expect to see those bats flying out en masse from under the bridge by the river. That’s only fair. BEST SONG: Well, we’ll say “Easy Action” ‘cause i’m not familiar with that Mystery Dates record. BEST SONG TITLE: “Bad Blood” if you’re Neil Sedaka. FANTASTIC AMAZING TRIVIA FACT: Casino el Camino, an Austin beer and burger jernt owned by TSOH’s former bassist, is considered the birthplace of the modern day roller derby revival. –norb (Sasutex)


SODA POP KIDS, THE:
Stomp and Shout!: 7"
The singer has that underground new wave high-pitched voice thing going for him on this two-track 7”. The B-side, “Santa Monica Pearls,” is definitely the more pulsing, fun pop song with clever harmonies and lyrics about men who look like ladies. The Soda Pop Kids’ sound reminds me of Nick Lowe. The band also lives up to their name by being uninhibited, cavity-forming, sweet pop music and 7” packaging that goes along with their vibe. The record itself has red, yellow, and blue color splattered on clear vinyl. –N.L. Dewart (No Front Teeth, Meaty Beaty, longshotmusic.com)


SNACKTRUCK:
Spacial Findings 1-7: CD
Noodly musician porn. –jimmy (rorschachrecords.com)


SLAVE SCENE:
“Fuck Off away from Me” b/w “Shit Gait': 7"
Feedback-drenched, repetitive guitar riffs and a steady drum beat on the first song. Not feeling much from it. Second side has a bit more to hang onto, but not much. I dig the obscure artwork and the fact that their thank you list is all but unreadable. But that’s about it. Because some of you out there will check this out on this merit alone: members of Cult Ritual. Or something. –Juan Espinosa (Deranged)


RSO:
Row:: LP + CD
I listened to the CD version of Row while getting to work on a lousy morning: I couldn’t find my wallet and ugly Ohioan ice had coated my windshield, so I ended up late. As I sped along (probably like a jerk), RSO’s disgruntled noise/hardcore roared out my speakers, providing skittering sax, noxious vocals, strained feedback, and guitar riffs that sound like the byproduct of a nuclear reactor test. It was a wild, painful experience that made me think what Paint It Black would be like if they had a few screws loose and why I should give The Jesus Lizard another listen sometime. I suppose it’s a compliment that this disc amplified my anxiousness and didn’t make me feel any better about my day. –Reyan Ali (RSO, lostinthefuture.net)


SHORT CHANGED:
Self-titled: CD
Dirty, crusty hardcore. The cover has a rad drawing of a zombie pirate with a skateboard and a piece of pizza. Was this somehow made with me in mind? I usually don’t delve into the crusty end of things, but I gotta say that Short Changed are kicking some ass here. Sure, the lyrics are a bit screamy, but it’s not over the top and you can actually hear what he’s saying. The music is solid with lots of good breakdowns and machine gun drums. I picture kids with bandannas going nuts when these guys play. I’d go see ‘em in a heartbeat. –ty (Rodent Popsicle)


SHARP TEETH:
Lines and Stars: CD
Female fronted, dirge-tempoed noise pop heavy on the early ‘90s influence and rife with sloppy guitar chords. –jimmy (No address)


RUM REBELLION / HAMMERED GRUNTS:
Pick Yer Poison : Split CD
The world is still safe for spiky kids as long as the mighty Rodent Popsicle Records is still around. These two young Portland bands complement one another nicely. Rum Rebellion is a fast, Dropkick Murphys-inspired hardcore Irish folk punk band and Hammered Grunts play hardcore thrash. Each group covers a song of the other and also delivers five originals. It’s kind of surprising that there aren’t more bands like Rum Rebellion given the popularity of DKM and Flogging Molly, but it’s not a very easy style to pull off. Rum Rebellion manages to do it with as little cheese effect as possible. Hammered Grunts, likewise, stand out in that they have a very specifically late 1980s crossover hardcore feel that isn’t typically replicated these days. We’re talking time capsule material here. It’s hard to imagine Hammered Grunts booking shows on cell phones and the internet instead of via newsprint classifieds. –Art Ettinger (Rodent Popsicle)


SICK ON THE BUS / THE DESTRUCTORS:
Tormentum Insomniae: CDEP
Sick On The Bus: Always enjoyed their brand of U.K. punk ala GBH, Exploited, and such. Three tracks that make you feel like you want to put your pint in the air to show your approval. The Destructors: More mid-tempo street punk numbers from this long-running U.K. unit. If you’ve never heard them before, think of the Punk and Disorderly comps. –don (Rowdy Farrago, destructors666.com)


SIDEKICKS, THE:
Weight of Air: CD
This is a modern, mainstream indie pop album. At the better parts of this CD, The Sidekicks have similarities to Hot Hot Heat—mainly for the vocals—but, at times, their music begins to sound a little too similar to the Plain White T’s for my taste. These are good, emotional songs with a professional sheen to them. There’s a poetic heart-on-your-sleeve aspect to these tunes. Take the lyrics from the track “Small,” for example: “You make me feel so small. I feel like you’re floating above me and I’m beneath it all.” It’s just not something most adult males (including me) would be into. –N.L. Dewart (Red Scare, redscare.net)


SIDEKICKS, THE:
Weight of Air: CD
Man, this was one frustrating review to write. I usually know what I’m going to write from one or two spins through a disc. I’m old and set in my ways—I know what I like and what I don’t. These guys threw me for a loop though. I’d go from loving a song to hating it to loving it again as they went from verse to chorus to bridge. At times, they were tossing out way cool melodic punk stuff, and then they’d turn around and be all indie rock affectation. I just didn’t know what to do. I had to listen to this thing a million times, which is a lot more attention than most of my reviews get. I guess you could say that’s a good thing. These guys are at least interesting. Whether you end up enjoying this record (and I’m still not sure myself) it’s at least worth a listen. I feel like these guys could become major contenders. Or they could really suck! The drum sound is terrible, though! Whoever Eric Cronstein is, someone teach him how a drum set should sound, pronto! –Ryan Horky (Red Scare)


SIDEKICKS, THE:
Weight of Air: CD
Man, this was one frustrating review to write. I usually know what I’m going to write from one or two spins through a disc. I’m old and set in my ways—I know what I like and what I don’t. These guys threw me for a loop though. I’d go from loving a song to hating it to loving it again as they went from verse to chorus to bridge. At times, they were tossing out way cool melodic punk stuff, and then they’d turn around and be all indie rock affectation. I just didn’t know what to do. I had to listen to this thing a million times, which is a lot more attention than most of my reviews get. I guess you could say that’s a good thing. These guys are at least interesting. Whether you end up enjoying this record (and I’m still not sure myself) it’s at least worth a listen. I feel like these guys could become major contenders. Or they could really suck! The drum sound is terrible, though! Whoever Eric Cronstein is, someone teach him how a drum set should sound, pronto! –Ryan Horky (Red Scare)


ROUGH SEA, THE: : CD-R EP :
Drawn in Crayon: CD-R EP
When I put this on my roommate said, “Is this from Olympia?” because it was cute and trite and twee folky. It easily could be, but you can tell it’s not because there are only three songs on here. Everyone from Olympia knows that you got to put up more effort than that to get Calvin Johnson’s attention. Thanks for sparing me, though. Three was more than enough. –Craven (Self-released)


ROMAN LINE, THE:
Morning Portraits: CD
Pop punk with some old school country sound. Recorded by Joe Queer, these Canadians play their influences (Screeching Weasel, the Queers, Ramones, etc.) and have a girl on the cover of their CD with cankles. The songs with the country influence are a little more fun, reminding me of something that Avail might try and pull off if they had some country sound, although those songs as performed by The Roman Line do tend to border on sounding clichéd. However, like most albums I review, this is average and generally uninspired. –kurt (Merman)


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