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Record Reviews

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Below are some recently posted reviews.

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STOPS, THE:
Nameless Faces: LP
I have listened to this record dozens of times in the past week and still don’t know exactly what to write. That seems strange, as this isn’t a terribly complex record. It’s actually quite simple in a lot of ways. The Stops are sort of a thrown-together band of misfits from Portland that dances around early Californian punk like the Authorities, VKTMS, or the Avengers with some new wave inflections in the vocals, and a post-punk vibe in the vocal phrasing and backbeat. The songs are catchy without being sugary or poppy. The lyrics are intelligent, well-paced, poignant, and crisp. Several songs work very well on their own—with “Moom” and “Repulsive” being standouts—but the record on a whole is a well-rounded unit. My only complaint is that the songs feel rushed at times. This may be one of the few times I will say that a band would benefit from “production.” All in all, this is a fantastic record and contender for one of the best records of the year –Ian Wise (Dirt Cult)


SUICIDAS:
Los Primeros 7”s: LP
As I get older, it becomes more and more apparent to me that I did myself a real disservice by not becoming fluent Spanish. I’ve lived in California all of my life, and thus have no excuse. I can pick up bits and pieces here and there, but I can’t conjugate a verb or tell ya anything about syntax. Pretty embarrassing. Suicidas remind me of this disservice. Guess these folks are outta Spain, but they sound more Pacific Northwestern or Swedish—not that I really have any familiarity with Spanish punk—insofar as they have dark punk tunes. Also kinda reminds me of La Fraction, but good. Sounds really good, very forceful. For sure worth grabbing if ya see it and slept on the first two 7”s, which, as the title implies, are captured here.  –Vincent Battilana (Sabotage)


SUPERMEN, THE:
Back with a Gang Bang!: CD
Yawn. The Supermen are trying to be offensive, I think. I’m not sure who they’re trying to offend though. Suburban mothers from the 1940s? I’m certainly not offended. The most offensive part about “I’ll Fuck You ‘Till You Love Me Faggot” is the misuse of the apostrophe. I actually love getting offended by music and by art in general. I love it when art makes me uncomfortable or angry, because that often leads to me thinking about why I’m angry or uncomfortable. What I hate are these tepid attempts by bands that think that throwing around the word “pussy” is still offensive in 2015. And no, I’m not going to let The Supermen off the hook because they included a legit rad song about lucha libre. One success does not override a disc full of failures. So I’m throwing down the gauntlet to The Supermen: You’ve got the rock, but how about you ditch this Debbie Does Dallas softcore shit and put together an album that has the power to actually offend in this century. Let’s see what you got.  –mp (Self Destructo, selfdestructorecords.bandcamp.com)


SWELLS / GAFF:
Split: 7”
If there is one thing I have realized after living nearly half a decade in Denver, it is that bands here love the early ‘90s Touch And Go and Dischord sound. Here we have the band Swells and they are right in there with that sound, with maybe a little Ebullition vibe on top. Gaff are from Austin and are mining the same territory, except maybe they would have been a little more at home on Troubleman. Some serious ‘90s emo/noise rock worship from both bands here on this record. Not my cuppa, but both bands do what they do quite well.  –frame (Sonic Mystics, sonicmystics.storenvy.com)


TAKING INDEPENDENCE GETTING TYRANNY:
Self-titled: CDEP
It’s difficult to consider self-described “Party Punks from Green Bay” Taking Independence Getting Tyranny’s (T.I.G.T.), EP a self-titled release; the band also goes by the names This Is Gonna Tickle and Terror In Greenville Trailerpark. Regardless of how the band identifies themselves, this EP introduces listeners to seven tracks of the band’s alcohol-fueled punk’n’roll. With good production from Hi-Five Studios, The EP features six tracks of original tunes, and a punked up cover of Andrew W.K.’s “Party Hard.” Hearing that cover in your head will give you an idea of the vibe of T.I.G.T.’s own material. If that sounds like something you’re into, this is a CD worth checking out.  –Paul J. Comeau (Urban Pirate, tigt.band@gmail.com)


TAPEHEAD:
“(My Life) Shot on Vid” b/w “Turn Green”: 7”
I cannot explain Tapehead.I am too dumb to understand them, and too smart to pretend I do. They are just excellent, and I need you to take my word for it. The band—comprised of members from a litany of noteworthy New York punk bands—are the musical equivalent of the popular kids’ table in the cafeteria. A lot of what they do makes no sense, but it’s all annoyingly perfect and thoroughly jealousy-inducing. They are eclectic, yet aggressive; fun, yet driving; messy, yet in total control of their craft. With a decidedly ‘70s aesthetic—both aurally and artistically—Tapehead hit all the walls of effortless cool. I hear they do commercials… in Japan. –Kelley O’Death (Cherish, cherishrecords.bigcartel.com)


TOTAL HEELS:
Self-titled: LP
Goddamn, did I like this when I first gave it a spin. I liked it so much that I flipped it back to the beginning and played it again. It had an undeniable air of ‘70s New York punk—the artistic strain thereof. Then I didn’t listen to the record because moving and life got in the way. And during that time, I’m thinking I internally fueled the hype train. Not into overdrive, but almost enough to give it enough momentum to derail when I played the record again. A modern take on ‘70s New York is there, for sure, and the vocalist is poetic in nature and delivery, falling somewhere between Craig Finn (The Hold Steady / Lifter Puller) and the main vocalist for Parquet Courts. I still like this record, and will definitely be listening to it more, but I think I will be forever searching for what I first heard. Maybe I will find it, maybe I won’t—but I think I will like whatever I end up finding. –Vincent Battilana (Like Literally, totalheels.com) –Vincent Battilana (Like Literally, totalheels.com)


TEMPORAL SLUTS:
Cosmocracy: 7” EP
I keep wanting to like this band, man, and trust me I’ve tried. The album art is cool as fuck, Temporal Sluts is a pretty sweet band name, and I think it’s neat they have a song called “Cosmocracy,” but after listening to this EP a few times, I think they should consider changing the title to “Mediocracy.” Cosmocracy is a bland, run-of-the-mill punk rock EP that I would have had a hard time stomaching even in middle school. It’s like those dreaded cafeteria lunches; one bite into your grilled cheese you realize it’s stuffed with cold, tired, government-grade Velveeta splooge and you nearly vomit on your shoe. This shit is plastic, pre-packaged punk, ready to hit a Wal-Mart sales rack near you.–Simone Carter  –Guest Contributor (Mental Beat / Striped Music, stripedmusic.com)


TOP BUNK:
Self-titled: CS
Consisting entirely of empty calories and musical MSG, Top Bunk is pop punk at its most sickly sweet. Singalong-style choruses are sprinkled on top of formulaically trite song structures—and like junk food, these guys would maybe make an acceptable midnight snack if you were blazed out of your mind. Call me a curmudgeon, but this saccharine EP gave me a headache. –Simone Carter  –Guest Contributor (Wiener, wienerrecords.org)


TOXIC REASONS:
Essential Independence: CD + DVD
Picked this up outta the piles thinking it was a reissue of a live video released more than a decade back featuring footage of the original lineup’s reunion show. That footage is indeed here, but the main attraction is a CD that contains not only the band’s debut Independence, an album that likely influenced a lot of your fave bands, but also theGhost TownEP, the War Hero single, and a full live set from 1981. What this means is that in one fell swoop you get the earliest releases of one of the best blue-collar punk bands ever to grace this continent. Crank this muhfuggah up and get to smashing the system, bucko.  –jimmy (Beer City)


TRAMP FOR THE LORD:
Self-titled: CD
This is the music of singer-songwriter Doug Cox, who is a little bit Steve Earle, a little bit Randy Newman, and not like ninety-nine percent of what I get sent to review for Razorcake. I like the songs and the recordings, but I imagine that Razorcake readers who latch onto this album will be few and far between. Maybe I am wrong. I hope I am wrong. If you find yourself needing a chill break from your go-to genres, branch out and give this album a shot.  –John Mule (Self-released)


TRY THE PIE:
Domestication: LP
Domestication is intimate and soft spoken, almost like a whispered secret in your ear. I’ve seen Bean play solo before she decided to create a full lineup with Try The Pie and this is really her signature sound; her gentle honesty is a badge of honor and she wears her heart on her sleeve. With members of Crabapple and Sourpatch, as well as heavy doses of the Softies and Mazzy Star, these undeniable influences resonate in song melodies. The weaving of guitar and bass in “Flood or Drought” and standouts like “Bad Reaction”—Bean’s overlying bittersweet, ethereal voice propels each song along with gentle force with melodies that roll off her guitar and sensitive tongue. Perfect for introspective moods or a slow-paced day.  –Camylle Reynolds (Salinas)


TWIN TRANCES:
Self-titled: EP
This record was a nice surprise. The Tron-esque cover and band name had me thinking keyboards and digital drums—wrong! This is heavy, late night, driving-through-the-high-desert stoner rock. The best way I can describe these guys is by referencing Back to the Future: remember the scene where Marty is wearing a space suit, puts the headphones on his father, and plays Van Halen? There’s a Melvins-style vocal effect that sounds like a voice coming at you through a tunnel. Meanwhile the music is really sharp and clean as far as the production goes. It doesn’t have that loose feeling a lot of stoner bands have or bass, for that matter. Which is a plus when you’re a two piece like these fellas.  –Ryan Nichols (Dirty Slacks, info@dirtyslacks.com)


USELESS ID:
The Lost Broken Bones: CD
Well, here’s a reissue of a 2008 album that originally came out on Suburban Home. What is there to say? Apart from the fact that they’re from Israel, Useless ID is virtually indistinguishable from the majority of other Fat Wreck bands that have long tilled this same sound—which is a good or terrible thing depending on tastes, right? It’s polished, seamless melodic punk. It’s well-crafted. And depending on your tastes it’s either gonna sound loaded with verve and momentum or overproduced and droll. Your call. Contains a handful of bonus tracks, including a Swingin’ Utters cover.  –keith (Fat)


VAADAAT CHARIGIM:
Sinking as a Stone: CD
Second record from this trio from Israel. All the lyrics are sung in Hebrew so they didn’t really have a huge emotional impact on my thoughts while I listened. The music was driving, shoegaze-type fare. I enjoyed it and maybe I would throw this on at a BBQ when I was busy cooking wieners. But I doubt this would hit top rotation in other settings; the lyrics don’t resonate with me when I need them to lock in.  –koepenick (Burger, burgerrecords@gmail.com)


VACANT LIFE:
Pain Compliance: 7” EP
Raw, overblown hardcore that somehow transcends the (probably intentional) sonic limitations via some solid musicianship and the wisdom to know that all the instrument-pummeling won’t do ye a bit of good if your shit don’t rock. Closing things out is a vicious bit of dirge guaranteed to ruin your evening. Fuck yeah, this does the trick.  –jimmy (Iron Lung)


VACATION:
Non-Person: LP
Lead singer and lyricist Jerri Queen is no longer belting from behind the drum kit; he’s now up front and strumming the guitar on their latest LP. Vacation bridges Southern California beach-town punk (Audacity, Toys That Kill) and Midwest melodies (The Replacements). Alongside Tenement, Vacation is currently one of the finest propagators of fuzzed-out power chords and dense vocal harmonies all tucked inside a collage-covered record jacket. “Decaying” is short, sweet, and gleefully fatalistic: “Don’t worry, baby / I’m just decaying / And soon I’ll be something new.” And “All I Think About (Myself)” noisily grooves over bleak confessions. They skillfully wrap bad feelings (“Do you still cart around / That piece of shit you call a body / All of the time?”) in good vibrations. Through some wicked magic, Vacation uplifts the spirit while the soul dies—it’s entropy set to a downbeat, and I can’t help but beg for more. –Sean Arenas (Don Giovanni, dongiovannirecords.com)


VACATION:
The Do Shit Wax: 10”
Vacation’s first release The Do Shit Tape, remastered and finally released on vinyl. Leads are wound tight and are ready to lift the cacaphonic chorus through the crowd. “Ratrick’s Day 2K9” won’t stop reminding me of Sexy’s “Pico de Gallo” and that’s a high, high compliment. More compact and maybe more “punk” than Vacation’s subsequent and slightly more expansive pop-meets-psyche full lengths, this earlier release sits comfortably up there with the best releases from Diarrhea Planet and Japanther. I think I just created the ultimate dream show bill for someone’s Ohio basement. –Matt Seward (Let’s Pretend, letspretendrecords.com )


VANITY:
”Yer Fucking Boring” b/w “There’s the Door”: 7”
Last year, from out of nowhere (well, New York City, but let’s be honest, there ain’t much decent punk coming outta NYC lately) came Vanity with the Vain in Life LP, a stellar album of street punk rock’n’roll. A healthy mix of British oi and American/Australian rock’n’roll influences. With the clean guitar tone, there’s the inevitable Templars comparison (the last great NYC band)—but Vanity have their own thing going, and it continues on this new single. While the vocals have an undeniable and well-executed Ian Stuart quality about them in the verses of the A side (just the vocals, not the lyrics), the chorus brings in a more melodic vocal line. That combined with the catchy-as-fuck guitar lick throughout the song makes for a killer single worth repeated spins. Like the Templars, Vanity employs a stylistic theme to their cover art. The fucked up, brutal content of a de Goya painting (as on the cover of The Obsessed’s Lunar Womb record) but in a more colorful, renaissance style. Anyway, a solid if unremarkable B side (aside from the coy SLF lyrical reference) still makes this a worthwhile pickup, if you can find it. I still haven’t been able to get my hands on a copy of their LP. Repress?  –Chad Williams (Katorga Works, katorgaworks.bandcamp.com, katorgaworks@gmail.com)


VARIOUS ARTISTS:
Fat Music Vol. 8 Going Nowhere Fat: CD
As a young punk, one of my first resources for finding out about new bands was the Fat Wreck Chords website. I would literally download every MP3 that they gave away for free. It was my first taste of bands like Screeching Weasel, The Soviettes, Dead To Me, and None More Black. Fat was my favorite record label for a long, long time. Now, I still compulsively check out all the bands they sign just in case they find someone amazing who had slipped past my radar, and that has definitely happened a few times. This disc is pretty much nostalgia to me. Even if I’m not so into their music anymore, it still makes me happy to see bands like Real McKenzies, Lagwagon, and Less Than Jake putting out new music on the label. Standouts from this volume of Fat Music include an unreleased track by new signees Pears, who released the excellent Go to Prison in 2014, a new track from my favorite guilty pleasure band Leftover Crack, and a preview track from the new Night Birds record. The label’s sound has changed slightly since their heyday in the late ‘90s. There’s definitely more than just skate punk beats and the saccharine-sweet production of Ryan Greene, though both are definitely there in spades. Some bands’ tracks serve only to show how uninterestingly they have evolved. (I’m sorry, Mad Caddies, but I liked you when you were trying to be more than just a ska band.) I can’t necessarily recommend buying this, but it’s definitely not a waste of money if you are inclined to do so. Grade: B.  –Bryan Static (Fat, fatwreck.com)


VARIOUS ARTISTS:
Fat Music Vol. 8 Going Nowhere Fat: CD
Twenty-five songs from Fat Wreck artists that really run the gamut if you listen in one sitting. From Banner Pilot’s full-tilt rocker to Lagwagon’s tech metal offering, this will perk up your ears when each new song revs up. A handful of songs are unreleased, but most may be familiar to hardcore label followers. Night Birds and CJ Ramone will get some repeat plays from me but with others the skip button will be in full force. I would be remiss if I didn’t mention label head Fat Mike’s contribution to this compilation. The demo NOFX presents of “SF Clits” has a ragged charm. Luckily, the punk musical portion of this release is the last song. Quick fade-out.  –koepenick (Fat Wreck, fatwreck.com)


VARIOUS ARTISTS:
Four-Way Split: 7” EP
As the title suggests, four bands share a slab of wax. Cat Party: helluva starting salvo here, with a killer post-punk track that recalls old L.A. greats BPeople. After this one, any other good tracks here are gravy. Terminal A: A bit of a grittier take on the darker post-punk edge of things. Rock solid. Shadowhouse: These cats do away with any pretense and go straight for the goth jugular, with heavily processed guitars and a dance-friendly beat. Etilo Mañtalini: Synth, acoustic guitar and a drum machine; slow and gloomy, yet oddly engaging pop sensibility at its core. All told, helluva split here. Thumbs way up.  –jimmy (Resurrection, getresurrected.com)


VARIOUS ARTISTS:
It Came from Plan-it-X: LP
This is the only vinyl compilation I own—and it’s a beaut! Emily Timm’s colorful artwork and layout for the gatefold perfectly capture Plan-it-X’s playful vibe and community-centric DIY sensibility. There are far too many songs for me to comment on (twenty on the vinyl and an additional twenty for free download). They mostly range from twee and pop punk (Looming, Kitten Crisis, Dogbreth, Martha) to acoustic tunes (Roman Candles, Garrett Walters, Ghost Mice), with Terror Pigeon’s dance jam as a playful oddity. I’m especially enamored by Chrissy Barnacle’s “Sunset” (a haunting lo-fi ditty in the vein of Mirah), Looming’s “Growth,” and Dogbreth’s “Hoarder House.” I can’t imagine someone knowing every artist featured, so be prepared for some pleasant surprises.  –Sean Arenas (Plan-it-X, plan-it-x.com)


VARIOUS ARTISTS:
Sin Dios Sin Patria: CD-R
From what I can make out, this appears to be a compilation of at least twenty or so bands. Nice hand-decorated cover and disc. Problem is that whoever packaged it all together put the band/track list in with the disc before the disc art dried, resulting in the track list being glued to said disc, rendering it unplayable. Took a look to see if maybe the ne’er-do-wells from Spontaneous Disgust were responsible for this comp, but it doesn’t appear to be the case. Maybe next time, kids.  –jimmy (No address listed)


VARIOUS ARTISTS:
Souvenirs of the Soul Clap Vol. 3: LP
Gotta admit, this is the first time I’ve heard of Jonathan Toubin or his respected “Soul Clap” dance parties. My loss, ‘cause if this is an indicator of what he’s spinning at his shindigs, they are something to go gaga over. Fourteen tracks of obscure, bone-deep, boogie-in-your-deepest-recesses, raise-the-roof-and-holler ‘50s and ‘60s soul music are etched into the grooves of this platter that are good for your feet and heart. Like Toubin, I can’t say I know much about the groups presented here—Dusty Wilson, Eldridge Holmes, Jessie Mae, Jasper Woods, The Rubies, and many others—but I do know that not a millimeter of vinyl here is wasted on chaff. Every track knocks it out of the park, like all the best comps should. There are apparently four volumes in all. I’m gonna start searching for the other three, and I highly suggest y’all do the same.  –jimmy (Norton)


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