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

MICHELLE GUN ELEPHANT, THEE:
Gear Blues: CD
Just as Guitar Wolf re‑interpreted Gene Vincent style cool and MC5 flash in a kitschy, fun way, thee Michelle Gun Elephant, in a strange new twist, crosses the animalistic passion of the Stooges with the rigid NYC composure of the Ramones to produce this furious blend of rockin' sukiyaki. On CD, anyway, this made in Japan quartet howls, writhes and rolls like demon possessed samurai for fourteen tracks and the syntax of the lyrics isn't nearly as bizarre as you might expect. –Guest Contributor (Alive/Total Energy)


MICHELLE GUN ELEPHANT, THEE:
Gear Blues: CD
Extremely LOUD Japanese trash rock. The press materials allude to Billy Childish as an influence, but I don't hear it as much I do the Cramps and others I can't quite think of right now. Hell, I gotta lay off of them there allergy pills, 'cause they seem to be messin' up my short term.... Whatever. Either way, this is some screamin' mad shit here, all sludgy, dirty and fuckin' loud, man. I think they're singin' in English, but it's damn hard to tell. I'm recommending this disc for two reasons: 1) The songs are mighty nice, and 2) Playin' it at excessive volume levels is sure to kill all rats, insects and small dogs in a square mile radius around the speakers. Oh, wait.... Silly me, I accidentally had the stereo runnin' through my guitar amp. Well, I still like it, even if it ain't as loud as I thought it was. –jimmy (Alive/Total Energy)


MEN FROM S.P.E.C.T.R.E.:
Burnout for Davie: 7"
Instrumental '60s rock. –jimmy (Sheep Records)


MARACA FIVE-O:
Headin: CD
Kinda mellow surf stuff that would work well in a Tarantino movie. –jimmy (Smooch)


MAN SCOUTS OF AMERICA:
Crash Course: CDEP
It's AC/DC without Bon Scott, a well‑disciplined Zeke, some Cadillac Tramps, an obligatory upbeat pop punk love song and a stupid name all in one! Draw your own line in the sand. Draw your own line in the sand. Draw your own line in the sand. Oh, I'm sorry. Was I being repetitive? –Guest Contributor (R.A.F.R.)


MALEVOLENT CREATION:
Envenomed: CD
I'm not really well versed on all the different sub‑genres of "metal," but my guess is that this would fit in with the death metal tribe of groups. The music falls in somewhere between Slayer and Morbid Angel, and there seems to be more of an emphasis on violence instead of the satanic slant of most of the black metal bands. They remind me of Brainstorm and all the old speed metal bands that used to play backyard parties in El Sereno a good decade ago. For what it is, it's pretty solid. –jimmy (Pavement)


LUNGFISH:
Necrophones: CD
I wonder if Ian and Don Z. had trouble staying awake while the band recorded this release. I know I did listening to it, and it's only 4:30 p.m. –jimmy (Dischord)


LOUDMOUTHS/ROCKS:
Split: 7"EP
Loudmouths: A couple o' helpings of their patented ranting. Rocks: If this were the only band on the disc, they would probably sound pretty decent. Following the Loudmouths was a big mistake, though, 'cause they sound really tame in comparison. –jimmy (702)


LOS LOBOS:
El Cancionero Mas y Mas: Boxed set 4xCD
We all know the story of Los Lobos, don't we? Band from East LA lands an opening slot for Public Image's debut Los Angeles gig at the Olympic Auditorium. Outraged punks pelt band with debris. Band signs with punk label and develops a strong local following that includes many of the same punks who hated them at the aforementioned gig. Band later has a fluke number one hit with a cover from a movie soundtrack and eventually becomes one of the most respected bands on the planet. Well, this four‑disc retrospective covers virtually all of Los Lobos' career, starting with tracks from their 1977 "yellow" album (see other review), and snaking its way through assorted albums, early singles, collaborations with other artists and assorted unreleased tracks, making for a total of 86 tunes in all. While some might view CD sets this large as overkill, in the case of Los Lobos it seems to merely scratch the surface. So varied are the band's sounds and styles that it often seems that one is listening to a compilation of many bands rather than just one. For example, on just the first disc in this set, the listener is treated to a musical palette consisting of guajiras, boleros, punk‑propelled rockabilly, nortenos, waltzes, blues, country and ballads, to name a few. Over the course of the remaining discs, new sounds are added to the pot: weird hybrids of traditional Mexican rhythms coupled with English lyrics, psychedelia, cumbia Colombiana, swing, soul, art damage, rock'n'roll and beyond. By the end of the ride, it becomes painfully clear why Los Lobos is one of the most respected groups of musicians in music today: they are damn good at what they do. Not only have they consistently produced some of the most exciting music ever to come out of the United States, they have done so over a span of time that has seen literally thousands of lesser bands hit that "Number One" lottery jackpot and quickly fade back into obscurity. They've done it on their own terms to boot, which is more than most of the biggie "punk" bands can say for themselves. Sure, there's some disappointments for the more dedicated fan, such as the glaring omission of their crowd-pleasing renditions of Los Pinguinos del Norte's "Mexico Americano" and Andres Huesca's "Canto a Veracruz," an early single version of "Under the Boardwalk," tracks from the "Si Se Puede" soundtrack, or any of their early '80s collaborations with the legendary Lalo Guerrero. Yet what is included almost makes up for such slights: covers of Fats Domino's "I'm Gonna Be a Wheel Someday," a reworking of Los Aventureros' "Panchita" (titled here as "Los Ojos de Pancha"), Little Richard's "Rip It Up," and demo versions of some of their originals, not to mention Los Super Seven's interpretation of Valerio Longoria's "El Canoero," which nearly surpasses the original in quality. Sure, CD sets this big can be overkill. In this case, though, the band is more than deserving. –jimmy (Rhino)


LOS LOBOS:
Just Another Band from East LA: CD
Back before "La Banba," before their Grammy nominations, even before their association with Los Angeles' early '80s punk scene, Los Lobos were following their own muse. While all the bands in the neighborhood were playing Top 40 and bad disco (which were, more often than not, the same thing), Los Lobos delved deep into their parents' record collections, gleaning musical gems from the worlds of the son jarocho, son huasteco, guajira, bolero and plena, to name a few. After playing a few weddings and other such gigs for beer and gas money, they pressed and sold 1,000 copies of this, the "yellow album," in 1977, and since that time, it has become a hot collector's item among the band's more avid followers. Listening to this album so many years after its initial release, it seems almost inevitable that the band would eventually gravitate toward Los Angeles' underground. Although already highly accomplished musicians, there is a very informal, "party" feel to the recording and their approach to the songs themselves seems fueled by much of the same intensity and speed that would give their nortenos that punk edge a few years later. When they take on a jarocho like "Maria Chuchena," they don't merely cover it so much as devour it and spit it back out in a rush of flying fingers at tempos that rival the masters of the form, which, anyone who has heard Lino Chavez or some of the other Veracruzano purveyors of the son jarocho can tell you, is some feat. It is no small favor that Hollywood Records has done. By re‑releasing this unassuming little gem, they have not only given us a peek at the genesis of one of America's greatest, most provocative bands, they have also provided another generation of would‑be and will‑be musicians a new avenue to explore, one that the average American music aficionado has no idea exists. In short, this is essential listening for anyone who claims to have even a passing interest in music. –jimmy (Hollywood)


LOAD:
Feel the Power: CD
Nondescript, vaguely Zeke‑ish hardcore. –jimmy (702)


LESS THAN JAKE:
Greased: CDEP
Funny. Ha Ha. Ho Ho. Hee Hee. Now can someone please tell me why we need yet another lousy "Grease" covers record? Who do I sue for wasting my time with this shit? –jimmy (No Idea)


LE SHOK:
We Are Electrocution: CD
Short, to-the-point blasts of snotty punk rock. The closest comparisons I can seem to muster are the Sexual Abominations, or the Screamers had they included guitars. These guys apparently have a complete disregard for "pop" sensibility, as the songs are virtually unhummable, which, of course, is exactly how things should be. I imagine a great many people are going to hate this disc, but true works of genius are usually reviled, so fuck 'em all. This is really good listening. –jimmy (www.bottlenekk.com)


LAST IN LINE:
L: LP
Hoo‑doggie! After a deceptively slow intro, these Massachusetts monsters wind up and let fly some pummeling hardcore that gives a nod to the "good ol' days" yet stays firmly planted in the now. The lyrics, for the most part, are substantive and the performance is intense, to say the least. Recommended. –jimmy (Acme)


LAST STAND:
Any Battle Won: CD
Anthemic punk rock with the occasional nod to hardcore and reggae. I really wasn't too enthused with this disc upon first listen. Although it's catchy and some of the hooks are nice, there really isn't any new ground being broken musically. Then I read the lyrics. There's a level of intelligent introspection and a deceptive simplicity to them that makes them easy to understand yet surprisingly deep on a variety of levels. Most effective is the song "Amarillo's Shame," which is about the punk rock kid intentionally run over by a classmate during a fight. While one might feel the band's delivery of the song lacks an appropriate level of anger, the sarcasm, outrage and moral indignation they feel towards those responsible for letting the driver of the car off literally drips from every line of the lyrics. I went back and listened to the whole disc again, lyric sheet in hand, and have come to the conclusion that this is some damn fine work. Sorry it took me so long to notice. –jimmy (One Way)


LAND OF THE LOOPS:
Puttering About a Small Land: CD
Land of the Loops is an excellent artist's description because that's exactly what it is. I believe he does have a couple of female vocalists, but for the most part, this album is simply layer upon layer of samples and electronic ecstacy. It has enough beats to supply a teenage boy under his covers and rhythms to send your soul a shiver. Nothing too bass heavy. Simply seismic enjoyment of the lava lamp and black light kind. –Guest Contributor (Up)


KOJACK:
Crash Motherfucker: CD
I remember hearing their 7" a while back and not being particularly enthused about it, but this is lots better. They still play noisy-as-hell mid‑tempo hardcore reminiscent of the time when mid‑tempo didn't mean metal moshing madness, but they seem a little more focused than before. It gave me a nasty headache, and that's always a good sign that what I'm listening to is pretty good. –jimmy (CNP)


KILLING FLAME:
Another Breath: CD
Late '80s sounding hardcore. Judging from the No For An Answer quote, I'm willing to bet that they're straight edge as well. Yippie. Pass the Newcastle, 'cause it's gonna be a long night. –jimmy (Equal Vision)


KILL TONE THEORY, THE:
Self-titled: 7"EP
A pretty movin' little slab o' wax. Four up‑tempo punk rock/Rip Off‑style ditties that come and go in a blur. Good stuff. –jimmy (www.sy.net/killtone)


KID WITH MAN HEAD:
Fond Memories of the Halibut Rodeo: CDEP
Bad Religion pop punk. Greg Graffin produced four of the songs. Surprise, surprise. –jimmy (Twentyfourseven)


KICKED IN THE HEAD:
Thick as Thieves: CD
I expected some good, loud hardcore, but got musically proficient pseudo‑metal from a group trying to pass itself as hardcore instead. Fuckers. –jimmy (Kicked in the Head)


KERMIT:
They: 7"EP
Kermit's: These guys get better with every release. Five hardcore (circa 1982) slaps to the face that sometimes remind one of Feederz at their speediest. Zippo: Sadly, these guys weren't as memorable. –jimmy (Fan Attic)


JUDGEMENT:
Just Be...: CDEP
Every time I get a release by this prolific Japanese band I always feel short changed. I'm guessing that this is their fourth release and this one was released on CD. There are only four songs! The two previous releases (and the first, I assume, but I never have seen a copy) was on 7" and only had two songs each. What you do get every time is quality old school Japan‑core. The songs are mid‑tempo and pack a lot of punch; manic vocals over powerful guitar chords. Under all the rage is a fine line of melody. The songs just have a hook that carries it over the edge and keeps things interesting. Something new in the mix from their previous releases is some background vocals from the female bass player. I don't know her name. I can't read Japanese anymore. Consistent, as always, and brought to you from a label everybody should check out. –don (HG Fact)


JOHNNY CASH:
American III: Solitary Man : CD
It's a cold dreary rain‑drenched day outside the frost‑tinted windows of this inner sanctum I call home. And it effortlessly reflects a drab colorless world of bleak black‑and‑white motionless imagery that seems all‑at‑once uninspired, semi‑detached, fragmented, and none‑too‑eager to greet any hapless wayward individual wandering the desolate trash‑strewn streets of this tired old town on such a miserable winter afternoon. So I restlessly cradle a can of lukewarm beer while intently listening to these solemn spirit‑enriching songs of solitude, the sometimes disquieting loneliness of life, and eventual redemptive hope via the proverbial effervescently shining light at the end of salvation's tunnel. "American III: Solitary Man" is an all‑acoustic slice of rural Americana, a stark somber soundscape of haunting melodies that indelibly touches a man deep in the furthermost recesses of his soul. It aurally conjures rustic images of simplistic domesticity in a pastoral countryside sprawl, beat‑up old run‑down pick‑up trucks, festive Sunday picnics spent euphorically indulging in the soothing sun‑splashed splendor of a gentle Spring breeze, history and heritage and unrelenting pride, native tribal Indian spirits ghost‑dancing in the tall sinewy grass of the windswept High Plains region, a burnt‑orange sun slowly setting on the barbed wire‑ridden rugged terrain of the wild untamed West, and solitary frontiersmen tombstones basking in the ominous snow‑speckled shadows of a moonlit winter's night. The sparse instrumentation (acoustic guitars and an occasional accordion, fiddle, piano, and organ) flawlessly complements the swaggering unfaltering voice (haggard, time‑worn, and aged to perfection) of Mr. Cash, a picturesque voice as deep and dark as the bottomless depths of a coal mine and as rich and textured as freshly plowed fertile Tennessee soil. As always, his original compositions are pristinely saturated with down‑to‑earth country charm that's as idealistically inspirational as it is unique and entertaining. And he reverently takes a diverse assortment of songs from a vastly differentiating array of notable composers (Tom Petty, Neil Diamond, Bono, Nick Cave, and others) and skillfully crafts them into his own with an elegant touch of expertly chiselled clarity. Indeed, his inate aural ability to speak to and for the common man (no matter what race, color, or creed) has become his true lasting legacy, an indelible essence forever imprinted in the hearts and minds of those who recognize the message in his music. Ladies and gentlemen, the inimitable legendary Man In Black, Mr. Johnny Cash... –Guest Contributor (American)


IRVING KLAWS, THE:
Pajama Party: CD
The inimitable infectiously evil Irving Klaws have once again defiled my ears with another decadent dose of sleazy sonic sordidness, and I couldn't be happier even if I were inescapably ensconced in a roomful of submissive nubile nymphos in the nude at this very moment (okay, well perhaps, that's a slight exaggeration of truth there on my part, folks!). Anyway, The Irving Klaws can aurally do no wrong when it comes to their hedonistic hellfire blend of raunchabilly rowdiness, garagerock rambunctiousness, and primal wildman rock'n'roll madness... on this musically pristine platter of demonically rockin' revelry, they rule supreme with such maniacal melodies as the punky‑spunky "Not Me Not Now," the psychosonic "Wigglin' & Jigglin'," the rompin' boppin' "Put 'Em On," the ghoulishly sinister "Return Of Dr. Spook," the rabid drum‑driven "It's Pervasonic!," the spastically devilish "I'm So Ugly," the booby‑bouncin' butt‑jigglin' "BestForm," the robustly belligerent "Dig My Six," the psychotically spooky "Moon Has Measles" and more, motherfucker, more! Yep, my unsolicited advice for all of you rock'n'roll raunchcats out there: get down'n'dirty, and "do the Klaw"! –Guest Contributor (Get Hip)


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


·GUILTY FACES
·COUNTDOWN TO ARMAGEDDON
·JONPOLNARIZ
·CULO / TENEMENT
·DAREDIABLO
·FINAL CONFLICT
·EUROTICS
·Riot at the British Invasion
·BABY WOODROSE


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.