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Split: 7"
This slab of creamy red wax could very well be the pick of the litter this month. The Muckruckers have got this dancy Fleshtones meets Beltones thing going on that I love. The Obsessors are contacting my spud boy tendencies by having a heavy Devo element to their tunes—perhaps if Devo was fronted by a girl and had Dee Dee Ramone co-writing with Mark Mothersbaugh. So good. I am going on an active search for more from both of these bands. –ty (Braindart)

Insomnia: CD
The metal of, say, ShadowFalls with keyboards. Out of Poland. –don (Zero Substance)

MIDDLE CLASS: Out of Vogue: 7”EP:
Out of Vogue: 7" EP
Author of American Hardcore, Steven Blush, I’m lookin’ directly at you. You’re wrong about one critical piece of history that your book is named after; and I’m just looking at the date on this label. Middle Class. “TortureGarden Music. 1978.” Bad Brains—love ‘em. Highly influential. I’m with you there. However, they were not responsible for the first hardcore punk record in America, as much as you’d like a band on your side of America to be the vinyl first-men-on-the-moon for an entire genre of music, it isn’t so. Bad Brains’ “Pay to Cum.” Released: 1979. It’s. On. The. Label. Middle Class are, unquestionably hardcore: lighting fast playing, barely attached melody. Awesome. The only other serious contender, if you’re using a highly subjective slide rule of “influence” to overcome the date pressed directly on the record, like Middle Class just “doesn’t count”? Black Flag’s Nervous Breakdown. October, 1978. My math’s shitty and I get my days of the week wrong all the time, but 1978 was before 1979. Check it. Re-release of the first-ever American hardcore record ever that was getting damn hard and expensive to find. –todd (Frontier)

Self-titled: 7”
The great thing about The Methadones is their uncanny ability to make polished pop punk songs and somehow pull it off without ever sounding too sanitized. However, this two-track 7” serves up gobs and gobs of layered cheese. Their sound here really resembles the worst parts of modern MxPx. –N.L. Dewart (Underground Communiqué, undercomm.bigcartel.com)

Are You Serious?: CD
Whoah! The dumb knob is pegged at twelve and it comes with its own party pants. This is making both the Spits and the Trashies look like, well, not like geniuses, but a bit smarter. It’s sorta like if Mad magazine came with a soundtrack or Alfred E. Newman started a band with Stir Crazy-era Gene Wilder and Joey Ramone. Stoooooooooopid with ten “o”s. And I love it, like I love pizza grease running down my arm, the twinge of unmistakable joy when a cube of Pabst is pulled from the supermarket cooler, and watching the opening credits to Blazing Saddles, knowing you’re going to be laughing and rockin’ at the same time for the next little bit of your life. Temporarily dissolve the gloom cloud of reality. Being this dumb and this catchy without being a joke? It’s way harder than it sounds. Direct hit, Mean Jeans. –todd (Dirtnap)

Love ‘Em or Leave ‘Em b/w Goodbye Sunshine: 45
The first time i heard this a-side, i really would have sworn that i was listening to some great old punk 45 from late ‘77/early ‘78 ((and, by that, i mean a REAL punk 45 from an ACTUAL band who might’ve recorded two songs in the real world in late ‘77/early ‘78, not some leopard-spotted-safety-pin cartoon thing that likely only happened in your imagination))—catchy tune, slightly underproduced, dueling pub-rockish guitars, occasionally incomprehensible lyrics that seem good, even though you really have idea what the fuck he’s saying ((though i’m about 90 percent sure that “don’t you ever come out alone?” is the hook))—it just seemed no-frills classic, like the songs on that Beggar’s Banquet “Streets” compilation ((which remains one of my favorite punk comps to this day)) or something. I was actually kinda dumbfounded when i found out it was a modern band, though, with repeated listening, i’m not so sure what i found so dumbfinding about that. IT JUST HAS THE ESSENCE OF CLASSIC-NESS, DUDE. B-side is more of a downtempo sixties moper, which seems to be a growing trend amongst b-sides these days. Amazingly nowhere cover art will require extra diligence on the part of the consumer; i assure you that there is no possible way you will take notice of this record in a 45 bin unless you are specifically hunting for it. SO SPECIFICALLY HUNT FOR IT! BEST SONG: “Love ‘Em or Leave ‘Em” BEST SONG TITLE: Both song titles—AND the cover art—suck. Yet i assure you it is a great record! I also assure you we are open. FANTASTIC AMAZING TRIVIA FACT: Insert features an image taken from the “Where No Man Has Gone Before” episode of Star Trek, which was, in fact, the show’s second pilot and the first episode with Captain Kirk. –norb (Super Secret)

Another Guaranteed 40 Minute Music Set: LP
Mark this up as not necessarily Love Songs’ fault; that our date didn’t go so well due to mismatched personalities. 1.) Metal guitar virtuosity and I do not get along. I’m unimpressed by Eddie Van Halen mostly due to having to choke his licks down from blunt overexposure from sixth to twelfth grade, growing up in a rural high desert town. 2.) Spam Records-style rockin’. Oh, it’s rockin’, but it’s jokey and then not jokey, and I’m often left shruggin’ and not compulsively pulling those records out and playing them all the way through. Is that broccoli fencing on that dude’s belt buckle? Yup. 3.) “Weird Al” Yanokovic-style spasticality from song-to-song and inside of songs. Is that a well-played trombone? Oh, yes, it is. Is that a held falsetto? Why, yes, it is. Was that a genuine guitar solo? (See 1.) Everything is played, recorded, and mastered exceptionally well, and although I’m trying to not let it get to me, I’m getting annoyed. Sorry. I’m sure they’re just having a lot of fun. –todd (Little Deputy)

Peace Is Boring: CD

Little Fyodor muses about death, sickness, war, uncomfortable clothes, and sucky friends on Peace Is Boring. Little Fyodor’s eclectic choice of topics is as kooky as his live stage show, where he performs with “Lady Babushka.” Fyodor dresses in righteous psychedelic throwback suits and has a head full of untamable red, white-man fro hair while he relentlessly blasts through his crazy songs. I’m a fan of his style. Take the track on this album, “All My Clothes Are Uncomfortable.” It seems like nothing more than an annoying forty-eight-bar mantra, but one has to listen to the very end of the song to understand he was only repeating the song title over and over to make a metaphor for his friendships with the line, “All my friends are irresponsible. They’re either too loose or too tight.” Fyodor has been kicking his brand independent punk around Denver for a long time and—if you’re like me and like unabashedly crazy music—he won’t disappoint you.

–N.L. Dewart (Public Eyesore)

Lighter Fluid: 7"
I love reviewing records that fit what I call The Razorcake Sound: pop punk with gruff vocals, played as if the band’s lives depended on rocking it. I implore you readers to check it out and then I get that satisfying feeling like when you set two cool friends up on a date and they start going out, or you take a buddy with specific taste in food to a favorite restaurant and they love it. So, there you have it. Mayflower is from upstate New York. They pound out three songs of melodic punk. I wish they’d come to Chicago and play with Canadian Rifle and some iteration of This Is My Fist. I just took a break from writing this review to get up and play this record again. –CT Terry (Mayflower)

Deads: 12” EP
Bloody, fleshy, mechanical sounds cranked through amps and instruments with primal, nauseating beauty. The self-disgust of mankind—200,000 years of displeasure—takes the form of annihilated garage punk. The day before I saw them play, the bass player had accidentally cracked a girl’s head open during their set. They  were shaken up, but it was still barn burner of a set. –Daryl Gussin (Self-released)

Calling All Cars: 7” EP
Although i gotta give ‘em points for bringing back my favorite punk rock 7” format—the “Nervous Breakdown” single-song A-side and triple-song B-side—i got to say that this is the least “Let’s Dance”-y sounding Let’s Dance i could imagine without making bizarre leaps of improbable fancy involving heavily plumaged Brazilian Oi showgirl bands recreating Busby Berkeley musicals on mounds of sacrificed goat corpses ((which might, come to think of it, sound at least tangentially “Let’s Dance”-y at that)). I mean, it’s basically a bunch of fast punk bellyaching about the cops and shit…there’s a little organ at the beginning of “Out On Top,” but Chris Montezishness this, in large part, ain’t. The “hit”—4:17 worth of single song A-side—is “Calling All Cars,” which starts with an intriguing, almost “Six Pack”-esque slowly accelerating build up, replete with police sirens. It’s pretty fuckin’ cool for the first minute, really, until the proceedings proceed for such duration as to lead the listener to speculate as to the likelihood of “Calling All Cars” being a ((gasp!)) four-minute plus punk instrumental. Somewhere around the 1:50 mark, the vocals actually and finally kick in; alas, the verbal juice—the roundly unbrilliant “THEY’RE CALLING CARS! THEY’RE CALLING CARS! THEY’RE CALLING ALL CARS”—ain’t really worth the squeeze at this point, so the last two-thirds of the song really never has a chance to live up to the bold promise extended by the first third ((note clever Neal Cassady reference)). Generally, it kinda sounds like the Methadones taking remote mental control of Rites of Spring’s bodies or something…i don’t necessarily dislike it but this band leaves me more interested in spot varnishing than dancing at this point. BEST SONG: “Calling All Cars” ((well, at least the first part)) BEST SONG TITLE: “X-Ray Eyes” FANTASTIC AMAZING TRIVIA FACT: My favorite thing to yell before the break in the song “Let’s Dance” is “Okay, Web-head!” –norb (No Front Teeth)

Split: 7"
This is a good example of a split release done right. Legion from Birmingham, AL (members of Die Young and Coliseum) and Mammoth Grinder from Austin, TX (members of Hatred Surge) both play heavy, fast hardcore music in similar styles, but each are strong enough to hold their own on their respective sides. Legion follow up their debut 7”, Saviour, with two brand new tracks of intense, stop-and-start hardcore with great dual guitar arrangements—as well as killer bass lines throughout—with a strong Integrity influence. The vocals are absolutely livid. Mammoth Grinder are a little more straight forward but still have a lot of range and remind me of an American Cripple Bastards. They have a new album coming out soon on Relapse and tons of tours, so watch out! –Ian Wise –Guest Contributor (Nuclear Solution, nuclearsolution.blogspot.com)

“T’es pas d’ici” b/w “Camille”: 45
Goodness gracious great balls of Jerry Lewis Telethons, it’s a Franc-O-Phonic poppy punksmack, and a welcome one at that!!! The a-side sounds like “Et Moi, Et Moi, Et Moi” by the Sniveling Shits, processed via the voice and ding-a-ling catchiness of America’s favorite Belgian, Plastic Bertrand, but recorded with the punch and crispness of The Boys, who never got to learn any French because they took technical drawing instead. There is something wonderfully insidious about a truly catchy French punk tune—sorta like huffing laughing gas whippits while a weird man in a trench coat shoves crepes in your back pocket and tells you not to waste the whipped cream or something—and rarely has glorious Francophonic insidiousness been gloriouser nor insidiouser. The b-side is more of a Nuggets-styled sixties thingie, but authentic enough in its minor-chorded tin can squawk to sound more or less carbon-datedly authentic as such. The sleeve could use some shiny jellybean colors on it, but, that said, this is pretty much the French equivalent of a home run, or triple at bare minimum. Olé! BEST SONG: “T’es Pas D’ici.” BEST SONG TITLE: “T’es Pas D’ici,” because i could actually figure out what it meant. FANTASTIC AMAZING TRIVIA FACT: There’s a download code printed right on the fricking label of this record. Wish i woulda figured that out before i forced my worn-to-a-nub needle back on my USB turntable to rip it to my hard drive. Amusingly, their own label fucks up the spelling of the a-side in the MP3 info tag, butchering it as “T’est Pas Ici”—which translates, if Google can be believed, to “thee not here.” Odds botkins! –norb (Telephone Explosion)

Buttsweat and Tears: 7"
Despite the weakness of the record’s art and design (seriously, who at Fat is responsible for this recent glut of faux-’70s crud? It’s garbage! Stop it!) and the lame-the-first-time title, this band still slays. More importantly, ten years together and they’re getting noticeably better. That’s the part that still throws me. I thought their last full-length, Oh Calcutta! was arguably their best effort and this new four-songer (five if you count the digital-only song that’s available at Fat’s website) is right up there. The hooks are wickedly sharp and reaching, the lyrics tackle regret and joy and throw them together in a cement tumbler, and the music itself, to me, would be considered pop punk only loosely at this point. There’s a lot more depth and ferocity here than a label like that implies. From the familiar (restlessness and torpor in “The Slowest Drink in the Saddest Bar…”) to the newly explored (the flatly menacing country vibe threaded throughout “The Redness in the West”), this record’s one of the best things they’ve ever done. Awesome times three. –keith (Fat)

Split: 7"
Well paired 7” of quirky, lo-fi minimalist punk. Thee Krappy Drakula kinda sounds like Giant Haystacks recorded on a boombox, with echoes of D. Boon sheen on the guitar and the squealing feedback of the Velvet Underground humming in the background. First song on the Farms In Trouble side, “Employment History,” is the winner on this side with tape loop magic and a yodeled hook. The other tunes are less melodic, jagged, angular shards of off-kilter, but still listenable weirdness, like backing tracks from Chuck Jones’ futuristic ‘60s Tom and Jerry cartoons. –Jeff Proctor (Eeefin’/Activities)

KING FRIDAY: Married Alive: CD:
Married Alive: CD
Clean my slate. That pretty much sums up what King Friday does to me. It’s a break from reality… not like a smoke break… more like another time and place. I shake my head, open my eyes again, and remember who I am. For me, the highlight of this CD is “Canadian Money.” It’s a must-listen pop gem of a lifetime. It’s the true sound of pumped-up kids bouncing off the wall. Crank this short song and hit repeat. When it ends, I feel like I just got off of that red spinny thing at the playground and I’m trying to walk straight. These are the kind of songs that stay with you for many years. I know because I have been listening to some of them for many years and they have stood the test of time. King Friday used to slay the crowd at the Hardback in Gainesville, FL on a regular basis. We all wanted to see what they would do next, and they never disappointed. The beginning of “Carrot on a Stick” is so amazing that I appreciate it again every time I hear it. Some of the songs on this record were new to me. The surprise hit of the new songs for me was “Mexico.” “I think you lie most of the time” says Jeff London, King Friday’s fearless lead singer. This record will be a classic in my life for many years to come. I can’t wait to hear the next chapter.What is it about these songsthat bring me to where King Friday takes me? Is it the way the melody rides the chords? The way the chords build to a destination? The way it all crashes on the shore of an island all of its own? Who knows…Who cares? They’re magically delicious.Get a pair of big speakers from your local Goodwill Industries store and crank this. –Dave Rohm –Guest Contributor (Fast Crowd)

My Brain Hurts: LP
The story behind this record is that while Chris Fields was recording the new record by the Bugs (featuring former Queers/JCCC band mate Dave Swain), Chris and Dave used the extra studio time, got together, and recorded Screeching Weasel’s legendary My Brain Hurts (don’t tell anyone, but Wiggle is actually my favorite SW record) as a surprise birthday present for international pop superstar Josh Mosh (of Sunnyside and the Phuzz). Josh Mosh then told Chris that the record was rad and suggested he put it out. Luckily for us, Livid Records agreed with J-Mo’s recommendation and this shit is out on vinyl for your listening pleasure. (And luckily for me, I got to catch them play a couple of these at North Park Awesome Fast this summer. Two times!) Limited to 500 with artwork by Cristy Road, who beautifully did the artwork for Recess’s re-release of My Brain Hurts earlier this year, as well. The songs here retain all of the charm of the originals, plus get a little kick in the pants by the Coug’s leather jacket swagger. Chris’ vocals are gruff and gritty and ripping solos fly throughout the record. Stand-out tracks include “Guest List,” “I Can See Clearly,” “The Science of Myth,” and, of course, “My Brain Hurts.” This comes highly recommended. –Jeff Proctor (Livid)

Shitty Rambo EP: 7”
I reviewed (and greatly enjoyed) Iron Chic’s demo tape in these very pages last year, so when I saw this sitting in the bin at HQ, I jumped for it. What you get here is four melodic, pop punk anthems with intriguing leads and hearty vocals sung in unison on a pretty slab of grey marble vinyl. This is certainly a fine release, but while I don’t want to say I’m disappointed, I do think that Iron Chic is perhaps not realizing their full potential with this one. I saw them jump on a basement show last minute at last year’s Fest and thought they were one of the standout bands of the whole weekend, where this 7” sounds a little too much like the rest of Fest for me. Pick it up and give it a shot, Razorcake readers, as it’s still worth a spin. For you, Iron Chic, you’ve got a good foundation. Let’s build on it. –Jeff Proctor (Dead Broke)

Record Profits: CD
Generally speaking, of course, I don’t like electronic music. My reason is the usual complaints: it’s devoid of the human element, thus it doesn’t have an emotional connection or feel to it. So it leaves me bored. A lot of my friends make and base a lot their lives around electronica or techno. They think punk is redundant, stagnant and have a whole lot of evidence that it’s just kind of dumb. Fair enough. It is a lot of the time, but techno is full of E’d-out, apathetic, rich... wait, wait, wait, let’s not split hairs. Instead let’s ask, “Can middle ground be met?” Well, Intro5pect have got the right idea, but, unfortunately, it doesn’t rise above the bullshit of either camp. The lyrics are just goddamn stupid: “Fuck your flag and fuck your pride,” or “fuck the system and tear it down.”I’d be embarrassed as hell to play this for anybody who isn’t into punk because it would just back up their prejudice. On top of that, it’s so completely clean that it comes off as sterile. It’s reallyfucking overproduced. Like Blink 182 overproduced. The blending of genres sounds completely intentional. As if they were thinking, “Why don’t we mix with this and do a techno-punk band?” rather than just being a bunch of people jamming out together and coming up with something. If only they could have made the crossover. The ravers have always got the good drugs. –Craven (A-F, a-frecords.com)

Self-titled: 12” EP
Rick from the Casualties seems to be the leading force behind this band, although there’s a touch more rock’n’roll here than in his other band. You can shake your fist to it, and what more can you ask for these days? Well, I guess songwriting and musicianship, but you can find that elsewhere. Anybody who listens to street punk for songwriting and musicianship is a dick. If you’re a Casualties fan, you might want to grab this one quick. Koi Records’ slogan is “Our records sell out… but we don’t!” –mp (Koi, koirecords.com)

Cro Mag: CD
The title proclaims this as “Hardcore All Stars” and, as one may guess from the cover, Harley from the Cro Mags is the main member. Features Vinnie Stigma from Agnostic Front on some tunes as well. This is thirty-two songs, comprised of twelve new songs, a 1982 Harley solo demo, and a live set from CBGB. There is also a live DVD of shows from NYC, Japan, and Germany. Fans of NYHC already know they want this. –frame (MVD Audio)

Outrageous Claims: LP
Holy fuh-uh-uhhhck! Absolutely ripping album! I was asleep for twenty years, it seems, since I missed out on their previous EP, but as I was shaving off my Rip Van Winkle-length beard, I had this playing in the background. By the time I put on the second side, I had more than a few cuts and scrapes from allowing this record to become the focus of my attention instead of the needed grooming job. Look, enough for a minute with all creative writing and attempts at being witty, let’s all agree there’s just a lot of “okay bands” out there. Too many, really. Then there’s a small handful of truly awesome bands out there. Guilt Trip are one of those truly awesome bands. And this is one of those albums that in five to ten years when you put it on for another listen, you’re not going to ask yourself in confusion, “Why did I buy this piece of shit?” Instead, you’re going to react to it the same way you did when you heard it the first time, “Oh, fuck yeah. This record is awesome!” Ten songs of full-on hardcore punk that hearkens back to the members’ previous bands (Tear It Up, The Rites, and Fast Times), only updated a wee bit. Solid musicianship, bleak (and great!) lyrics, and a manic vocal style. The last song, “Bitter Sweet Nothing,” goes off into Black Flag territory with a slow, sludgy tempo and words of despair. Other than that, the delivery is fast and urgent. Awesome, awesome, awesome! –Matt Average (Absent)

The Delaware Octopus: CD
I’m going to go out on a limb and say that House Boat are basically the Pinhead Gunpowder for the next generation of pop punk nerds: Four dudes from other notable bands of the genre (ranging from broken up to full-time active) coming together to make a record every once in a while, and play the occasional shows. While I love a lot of these bands (like Rivethead, Copyrights, Dear Landlord, etc), I personally find myself relating to Grath’s songs a little bit more, since they usually revolve around being unhappy about your temp job, and immediately falling head over heels over every girl you pass on the street. For the completely out of the loop, think if Off With Their Heads embraced the fact that they’re a pop punk band a lot more, and were less dramatic. –joe (It’s Alive)

Trust These Hands…Are Worthless: CD
Who knew bands from Slovenia could rock hard? I’d be hard pressed to find that country on a map, but maybe I should visit sometime to check these guys out live. But, for now, I have this release and it will have to do. Furiously paced drumming, heartfelt vocals, and overall creative songwriting went into the batter in this cake. I hear some Dag Nasty guitar influence in here and it brings a solid groove to the party. “Fail Safe Fail” is probably my favorite track on here. And they even end it with a tight instrumental. Impressive, gentlemen. Most impressive. –koepenick (Moonlee)

Cryptozoology: CD
I will never understand why more people are not absolutely insane about this band. Since the early ‘80s, they’ve been delivering their own sinister blend of shock rock, combining ‘70s punk and ‘70s metal with single-minded dedication. I’ll admit that I didn’t really know much about them until a few years ago—when I moved to their homeland of Minnesota and went to one of their shows—which turned into the most insane rock’n’roll brawl I’ve ever seen. When I see a band that makes insane music back it up with real life insanity, I’m in for keeps. Of course, it doesn’t hurt that their music is consistently awesome, and this new album is one of their best. It’s a concept album about cryptids, featuring songs about chupacabras, Jersey devils, and the like. There’s even a trilogy of Bigfoot songs. The message here is clear: These beasts are not cute and friendly. They’re fucking monsters, and the songs sound absolutely vicious; the way songs about monsters should sound. –mp (MVD)

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