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Record Reviews

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SEVERANCE PACKAGE:
All Down Hill : 7"
Raging and engaging garage rock by a trio from Chico, California on their three-song 7”. Primarily, Severance Package is mining ‘60s style Nuggets rock along with primal ‘70s punk. Current bands you could compare them to would include Dead Moon, The Candy Snatchers, and Shark Pants. All three songs, with their mastery of melody and sheer velocity, grab you from the outset and don’t let go. This is a band to keep your eye on. –Jake Shut (Shut Up, shutuprecords.com)


SECRET CUTTER:
Self-titled: EP
This sounds like what would happen if Brutal Truth and Hewhocorrupts happened to swap members after being double booked at the same venue and having shared a brick of hash. It’s good stuff, yes. –Juan Espinosa (Square Of Opposition, Discontent)


SAW WHEEL:
“Raw Words” b/w “The Old Days”: 7"
Earnest, glowing-ember music that’s a mix between Rumbleseat (think the more acoustic side of Hot Water Music) and John “Cougar” Mellencamp. It’s intimate, well played, direct, and could be in a folk punk lineup or a bill with more country influences, like Ninja Gun or Drag The River. There’s some nice, quiet security here, and it sounds like Saw Wheel comes from a small town, even if they aren’t. Well realized. –todd (Anti-Creative)


ROUGH KIDS:
Self-titled: 7"
These are some really fast-paced post punk songs in the vein of Gang Of Four and Wire. A lot of tension and energy comes through in tight and catchy bursts. A nice little lyric sheet would have been cool, but, then again, it’s just the music that matters here and these guys really bang ‘em out. Great self-released stuff. Get a copy. –Rene Navarro (Rough )


ROTTING OUT:
This Is Just a Life: EP
Straight-ahead, no frills hardcore punk with a late ‘80s youth crew influence. Along the lines of bands like Bold, Mouthpiece, and Bane. The songs are mainly mid-tempo and they have some good breakdowns that are useful in switching to and from the thrashier parts. “Kobe Bryant Lifestyle” is the standout track, for sure, with “Two Worlds” a close second. My only complaint about this record is the two cover songs at the end (“LA Girl” and “I Love Living in the City”). I know this is the sort of thing that pleases a crowd, but fuck playing for a crowd. Make them come up to your level! The vocalist is pretty good; a gravelly, and yet, clear delivery, and the musicianship is super solid. Quite good all around. Nice to hear a band from L.A. that isn’t another drunk punk or clone crust band. For sure, one of the best true hardcore bands in the area. –Matt Average (World Won’t Listen)


RHINO 39 / BLACK RANDY:
Split: 7"
A bit of a coup here for the Artifix kids. What you get here are two outtakes from legendary L.A. punk label Dangerhouse, both of which are heretofore unreleased. On one side you get Black Randy And The Metrosquad cranking out an alternate take of “I Wanna be a Nark,” recorded during the session that resulted in the Idi Amin single. On the other, you get Rhino39 dishing out “Night in Watts,” a nice bit of mid-tempo proto-core reminiscent of the Simpletones that they left off their Prolixin Stomp EP because they thought “it sucked.” The tune was believed lost along with the original tapes for said EP, but Dangerhouse’s David Brown rediscovered a “quick mix” on a cassette tape and turned it over to Artifix. It is the only tune they recorded not on the Rhino 39 discography CD released a couple of years ago. As per usual, the release looks and sounds great, and a one-sheet is included with info about each band and the tune. –jimmy (Artifix)


REPRESSED, THE:
World in Flames: CD-R
The Repressed were one of the bands that formed the nucleus of the legendary “Lower Eastside Drunk Punk” scene that built up around New York’s ABC No Rio in the late-’80s. Many crazy tales abound about that scene, not to mention about this band, and I would venture a good percentage of ‘em are probably true. What you have here is a reissue of a demo recorded by the band in 1991, I believe. Though the sound quality can get a bit dicey in spots, which isn’t surprising when you consider we’re talking about tapes that are nineteen years old at this point and were probably not recorded in the most optimal of settings in the first place (then again, you’re a total dope if you’re listening to punk rock for superior fidelity and high end recording practices), the tunes are often fast’n’tight and well executed, are definitely a mark above the insta-thrash and bonehead metal that was New York’s primary export during that period, and infused with the perfect amount of raunch to give this a gloriously skuzzy sheen. This comes highly recommended as an antidote to those whining grampa-punkers who insist that quality punk never made it past 1983. Paul will probably send me a note setting me right if I’m wrong, but I believe they may still be quasi-active, so I’d highly recommend you catch ‘em if they show up on a bill. Be sure to wear a helmet and ample padding, though, ‘cause you’re gonna need ‘em. –jimmy (The Repressed)


REACTORS, THE:
Self-titled: 7” EP
The Reactors were a female-fronted punk band from San Bernardino. Active from 1978-82, they managed to self-release one EP and one LP before they threw in the towel. Don’t happen to have copies of either release, but by the looks of this, this is a repress of the 7” EP, which had an original run of three hundred copies when it was first released, and included five tunes of straight-ahead, scrappy punk rock. Although he doesn’t appear on this, the band is also notable for having included Tony Fate (The Sins, Grey Spikes, BellRays) in a later lineup. Word is Artifix has acquired the band’s recordings, so look for either more releases or a more comprehensive collection of their tunes in the near future. –jimmy (Artifix)


REACTIONARIES, THE:
Ingenuity: LP
You would never know there were two ex-members of the Belgium hardcore outfit Dead Stop in this band. Two very different bands. But both great. The Reactionaries are somewhere between Detroit proto punk and garage rock. Before the first side of this record was over, I was pretty much convinced this was a great record. Songs like the opener, “Good News,” is a great introduction to the band. The fuzzed-out guitar is great, and the psychedelic influences come screaming in. The title track and “Walking Away” are the two most aggressive of the bunch, but they don’t forsake any melody for crunch. You can have both, and they give it to you, both barrels. But then there’s a second side to listen to before making it official. It’s a tad different than the first. The songs are little slower and longer, but damn, it’s all good! It begins appropriately enough with “Other Side,” and the verdict is pretty much in. “Fool for You” sounds like a lost Misfits track. The vocals sound exactly like Danzig in this song. It’s eerie! The closer is “System of Interest” and they really open up on this. Maybe the longest song of the album, but there’s more texture, great backup vocals, and further proof that this band is very capable of being massive. I want to hear more. Gord should write these dudes a blank check and give them the world. –Matt Average (Deranged)


RAYMILLAND:
Recordings ‘79-’81: CD
The only thing i know about Ray Milland, the actor, was that he was in that horror movie Frogs, from which i ripped off the poster art to use on the cover of my fanzine like a quarter-century ago. The only thing i know about Raymilland, the band, is that 1) they are “legendary 1st wave post punk from St. Louis,” and 2) they have a really stupid name ((and THAT i learned from a sticker on the front cover)). Having cut my teeth in the punk scene during the largely undocumented very late 70’s/early-to-mid 80’s era, i fully understand the compulsion for aging fans of that period to scrape together whatever material exists by whatever undeservedly unknown band they used to get out of their minds to thirty years ago and belatedly plunking said scrapings onto a CD; the problem is, usually, that said CD indeed delights the family and friends of the band, but serves as little more than a vaguely interesting historical footnote for the rest of us. Surprisingly, the life and times of Raymilland—dour-countenanced dorks, several of whom have their hair combed into their eyes ((though possibly so long ago that that was actually cool)) ((er…probly not))—actually constitute a fairly cool listenin’ experience. Who knew? Mildly darkish, postish, punkish, synthish, rockish post-wave somethin-somethin’ that probably doesn’t really sound like Ultravox v. Mission of Burma in a burping contest, but that’s fun to say, so why not? I never really listened to bands like this back in The Day ((Wire, Television, Ultravox, Gang of Four…i mean, i didn’t even listen to the Wipers back then, ya know?)), but they manage to not offend me with cornball über-darkness, nor do they descend into kitschy “the 80’s are here! Let’s look all glassy eyed and fellate test-tubes!” Peewee-Herman-O-Rama, so even though i’m a little too much of a straight-up goof to tell you exactly WHEN their time was, i can say with great certainty that they were ahead of it. Pretty cool if you like this sort of thing, and still kinda cool even if you don’t. BEST SONG: Well, i thought it was “She’s Got Medals,” ‘til i found out it was a David Bowie cover. Beats me, i never really listened to him either until i was too old and weak to fight it. “High & Wide” is pretty cool though. BEST SONG TITLE: I hate to say this, but i think it’s also “She’s Got Medals.” FANTASTIC AMAZING TRIVIA FACT: I think it was the me stealing the cover art from Frogs thing. –norb (BDR)


RAYDIOS, THE:
Now: LP
Japanese punk that’s the midpoint between some of these dudes’ previous bands: Teengenerate and Firestarter. Here’s the story I remember, to the best of my recollection. I’m telling you this because every record mentioned is worth your time to track down and listen to. Years ago, Teengenerate wanted to be a power pop band. They had a rough-and-tumble demo and sent it to Crypt Records. Tim Warren, the label honcho, flipped at the raw aggression—of a band tapping into the wellspring of the asphalt and drag strip heart of rock’n’roll. He convinced the band to not touch the demo, and in 1994 Get Action! was released. Garage and proto-punks clenched their fists in glee. The next two years would see two more excellent records: Smash Hits!! and Savage! Teengenerate disbanded. In 1996, many (if not all) of the members—Fifi, Fink, Sammy—reformed and became Firestarter. This time, they recorded and released the album they had conceptually thought Teengenerate would have been: power pop perfection. It’s got this unadulterated power chained to bouncy melodies, like FM Knives and Gentleman Jesse. Don’t let the Bible-lookin’ cover of Livin’ on the Heat deter you from purchase. (As far as I know, it’s still unreleased in the States.) In 2005, Fink left Firestarter and started Raydios and it’s the mid-point between a contemporary Japanese version of Eddie Cochran and the Knack through the valves of Estrus and Sympathy Records: driving hooks, plenty of meat and screech, and impeccable, unsterilized musicianship. Cool stuff. –todd (Dirtnap)


RATIONAL ANTHEM / THE STRAIT A’S:
Split : 7"
Rational Anthem is pop punk, but I liked it immediately. It’s always weird with me and my relationship to pop punk because I almost always hate it. When I do like it, I can never figure out what it is that makes it stand out from the rest of the genre. The lyrics are definitely raising the bar (songs about disillusion and moving on). But they are still pretty basic. Though whatever it is that I like about this, it’s making me play it a lot. I like the other side, too. It’s pop but it has a more Ramones style than what usually comes to mind when something is called pop punk. It has dual male/female vocals and the lyrics are pretty idiotic, broken-heart stuff except for the song “Pop Punk Boys Are Girls” which disses the named party for liking songs about love and compares them to girls. It would be petty, if not hypocritical and sexist, if not sung by a girl. In this context, it’s just kind of funny. –Craven (Traffic Street)


PU$$Y-COW:
Drinky Birds: CD
There are some things that you just accept about Los Angeles. The liquor aisle at Food4Less closes before the rest of the store. All DMV employees are safely behind bulletproof glass for good reason. L.A. would be absolutely beautiful… if you could just see it through the smog. Folks with much better shoes and cell phones will ask you for money… and ask you to hold. Then there’s the food, especially in the neighborhood Pu$$y-cow and Razorcake share: Highland Park has some of the best, most street-available, reasonably priced Mexican (all districts) food anywhere outside of Mexico. It often gives Northern culinary visitors—whose previous exposure to Mexican food has been from cans or Taco Bell—a big, ol’ stomach ache. They’re just not used to the spices, the lard, the cheeses. Pu$$y Cow: there’s nothing rotten or off about ‘em; they definitely won’t give you “music poisoning,” but there’s something distinctly L.A.-native about their approach to music. Your ears will have to eat through their Dickies meets Dwarves meets Stevo-then-cow-punk-era Vandals, meets crazy dude with nice shoes asking for change, meets eccentric, spazzy musicality. And, to me, I like ‘em. It’s a taste I’ve acquired while living in the neighborhood, but I understand that they’re not for everyone. (Their name is from a popular mis-hearing of a popular car dealer who advertises on TV all the time in the Southland. “Go see Cal, go see Cal.” Sounds a lot like “Pussycow, Pussycow.”) –todd (Chorizo Bonito)


PSYCHED TO DIE:
Year One: CD
Why in the hell hasn’t this been done before? It seems so simple: Let’s start a band that sounds like the Zero Boys, Angry Samoans, and the hardcore side of the Descendents. Talk about a no-miss idea! Well, Psyched To Die have done just that and the results are glorious. This collection of songs contains everything I love about hardcore punk: High energy playing, snotty vocals, and huge hooks. Why is this so hard to pull off, why are there so few bands that get it right? This band stands up to any band that you wanna name; they are that good. Every time I listen to “Permanent Solution” I have to check the credits to make sure it is not a long-lost cover. That song is an instant punk rock classic. All the rest of the tunes are great, including an actual long-lost cover of “Bummer Bitch” to complete the record. Pick up this collection or grab the singles while we hope for a full length. There could not be a higher recommendation for a new band than Psyched To Die. –frame (Dirtnap)


PSYCHED TO DIE:
Scatter Brained: 7"
There is a long list of phobias that people have. Flying, heights, and spiders seem to be popular among a lot of people. While these fears aren’t totally irrational, they are statistically unlikely to cause most people harm. Myself, I’m scared of snakes, horribly so; however, I’ve seen one snake that was neither in a cage nor accompanied by another human being in my life. I was later told that snake was dead and headless—I still would’ve run if I had known it at the time. As anecdotal as my case may be, I think that it illustrates something particularly familiar: We oftentimes put a lot of energy and time into fearing relatively improbable situations, which would result in death if they occurred. Psyched To Die seem to have a fear, one that is more likely to occur with many people than being in a plane crash or being bit by a spider—even more likely than being in a fender bender—and it doesn’t result in physical death. Their fear seems to be mundanity, becoming milquetoast dogsbodies who are forever haunted by their lacking and debilitated by their inabilities to ever find happiness. It makes sense. I mean, what’s more attention-worthy: fear of having a rare cause of death or fear of being part of the mass of people leading lives of quiet desperation? As for the music, this 7” hits a little harder than the previous one, more doom and gloom. Each one of the four tracks is a simultaneously catchy and stressful hardcore punk tune. It’s quite possible that this one will wipe any trace of a smile off your face, but you’ll love it for doing so. –Vincent Battilana (Dirtnap)


PROFESSION: ILL:
Discography: CD
I was stopped on the street by a young man. “You review records, don’t you?” He then handed me a paper bag with a couple of CDs and a cassette. “I have a label. Here’s some stuff I’ve put out.” With that, he was gone. I have no information about Profession: Ill other than I’m pretty sure they hail from the eastern part of Canada. They play stripped-down old school hardcore punk that had me thinking of Black Flag or The Weirdos without sounding like a carbon copy. Kind of like The Regulations. My favorite song title here is “Rum, Sodomy, and the Thrash” but a close second would be “Repetition Killed the Cat,” mainly because almost every song on the disc is on here twice. Good stuff. I’d like to hear more from. –ty (Shred City)


OVERNIGHT LOWS, THE:
City of Rotten Eyes: CD
Occasionally, a band will blow an unpretentious slab of three chord rock’n’roll right through the wall. The Overnight Lows are from Jackson, Mississippi, a city that is historically remiss in providing the world with blazing punk rock. But the blues defiantly had a baby this time. The Overnight Lows play rippers with a garage sensibility. The title track, “City of Rotten Eyes,” is a mover. “Eyesore” and “So Well Read” slow to a pogo. The vocals display the proper attitude and are backed up appropriately. It never slows down. All the elements are in play. –Billups Allen (Goner)


OSCEOLA / SUIS LA LUNE:
Split: 7"
If you missed these two bands on tour together, here is the next best thing. According to Osceola’s myspace page, the vocalist has left and there isn’t any further news as to the future of the screamo thrash band. Stay tuned. Sweden’s Suis La Luna follows up with, “Friends,” a hardcore garage track that manages to float into a gentle melody before soaring into a frothy wave of guitar effects. Good stuff in the same vein as The Sound Of Animals Fighting and Phoenix And The Turtle. –Kristen K (Protagonist Music)


OPEN CASKET / SCRABBLE ROBOT:
Split: 7"
The “Vs.” between the bands’ names on the cover positions this split not as a collaboration, but as a competition. Open Casket’s first song features the sort of casually angry vocals that I find endearing. It’s sort of an armchair angry, a “Damn it I wish I had more root beer!” angry, rather than an “I’m gonna gut you and eat your intestines” angry. It’s the kind of angry you can get behind pretty easily when you’re sitting around listening to records. OC’s second song is sung by a different band member. It’s about falling out with a former bandmate and offers these fantastic lyrics: “Spent the money from the last show. I know that was wrong. I bought a bong.” Scrabble Robot’s songs on the flip are perfectly acceptable, but about halfway through the first one I found myself really anxious to go back and listen to the Open Casket side again. So I guess I’ve picked a winner. It should be noted that this is a beautiful package, with an amazing full-color cover, green vinyl, and a comic strip insert which, by the way, also depicts Open Casket as the winner of the competition. –mp (Mortville)


O PIONEERS / NEW BRUISES:
Under the Influence Vol. 10: 7"
Well, that was certainly interesting. You guys know the deals with these, right? Two bands, one cover song each. The problem with the whole series was either that I didn’t care about either band, or I didn’t care about the songs they covered. This one is two bands I enjoy with two cover songs I have never heard. I checked out the originals before I started the disc and they are definitely… cover songs. I think O Pioneers cover fit their style more than the New Bruises song (which was “Nu Bruises” by Superchunk, which kind of feels like cheating to me). Recommended if you’re into this sort of things. –Bryan Static (Suburban Home)


NOFX:
Cokie the Clown: CDEP
So, the first NOFX release in the decade I’ve been following them that I did not actively seek out ends up in my review box? Ironic. NOFX lost me when they released Coaster. It was their first album that didn’t have that one song that got stuck in my head like the others. Hell, even their greatest hits album added “Wore out the Soles of My Party Boots” to the NOFX canon. Surprisingly, this EP is good. I will definitely keep this. NOFX has my attention for at least one more album. After that, all bets are off. –Bryan Static (Fat)


MY LIFE WITH THE THRILL KILL KULT:
Death Threat: CD
Dripping with sweat and pheromones, TKK is back again with their latest album. “Psychik Yoga” and “Death Threat” give us that dance floor thrash and stomp we’ve come to expect from this infamous glam rock outfit. “Spotlite Hooker” and “Foxxxy Rockit” fulfill their signature B-movie disco slut raunch, while “Invasion (of the Ultra Modelz)” will be the next biggest slow grind striptease track. Recommended, especially for those that still have Sexplosion or Confessions of a Knife. –Kristen K (Rustblade, rustblade.com)


MUTOID MEN:
Mutoid World: LP
It’s all about the math. Shorebirds and Doomhawk—more or less—become Mutoid Men. Separate, they we’re potent. Together, they crumble theories. Doomhawk did its best to defy genres, Shorebirds did a flawless job with theirs. When a project contains this much talent and creativity and the forces aren’t battling each other, holy-fucking-shit. Usually synthesizers make me feel sick, but when the punk is this driving and catchy, they can get away with a lot. It’s an epic ride of a record. Strap me in. –Daryl Gussin (Rumbletowne)


NIGHTY NIGHT:
Belle: 7" EP
The first song sort of sounds like the Mo-Dettes singing sad lullabies written by Guided by Voices, the second song is an acoustic folk tune involving people who “wait for wars in threes and fours,” which is kind of a neat line, whatever the hell it means, and the third song sounds like something for which i lack meaningful points of reference. After a few spins i became mildly smitten by this 45, thus—tragically—jettisoned all the snarky wisecracks i had devised earlier. Alas. BEST SONG: “Belle” BEST SONG TITLE: Would you believe “Underwater?” FANTASTIC AMAZING TRIVIA FACT: “This record is dedicated to Zach’s dog, Belle.” Please hold for one moment whilst i try to dig my snarky wisecracks back up. –norb (Let's Pretend)


NEW BRUISES / OFF SHORE RADIO:
Split: 7"
Not released off Bryon’s Kiss Of Death, this New Bruises split is off Jan Yo-yo’s German punk label. Bruises drops two steaming tracks of anti-establishment angst, continuing on the heels of Fugazi and Hot Water Music, while Offshore Radio lends its two tracks of bouncy garage rock. Plus the cool hand-drawn cartoony Bruises cover of severed limbs. What’s not to like? –Kristen K (Yo-Yo)


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