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Record Reviews

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Below are some recently posted reviews.

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VARIOUS ARTISTS:
America in Decline: CD
Vinyl gets the digital treatment, and ages gracefully. The comp itself is split in two. One half being Athena, where the bands are mixed between hardcore to pop punk, and the other part is called Jeff, where the bands are full-on white knuckled madness, hardcore to grind. All in all, a pretty good mix of styles. My favorites come from Gringo, Fuckface, KPF, Rash Of Beatings, Pretentious Assholes, Bad Genes, Brother Inferior, and Benumb, to name but a few. –Matt Average (Six Weeks)


VANILLA MUFFINS:
The Power of Sugar Oi: CD
You know, in a few months, you’re all gonna be inundated with so-called reviewers proclaiming this record and that were the best of the year, blah blah blah. Well, I want you to ignore all of them. Not one of them has an ounce of credibility because not one of them knows what the hell they’re talking about. Only my words should be heeded by all you fine people, because I am the only one who has a clue. I, James Alvarado, being of hollow mind and scrawny body, would like to take this opportunity to proclaim to the world (or at least to the seven people reading this [Hi, mom and Karla (who I know is probably gonna say that she didn’t, in fact, read this)!]) that this is, hands down, the best punk rock CD I have heard this whole year. I will further venture to proclaim that, unless Smogtown spits out that new disc they’ve been threatening to put out, this is the gonna be, hands down, thee best punk rock release out this year. I don’t care if it’s a greatest hits package (and I’m pretty sure it is ‘cause I seem to remember some of these tracks being on their The Devil is Swiss LP). Take “Mating Sounds”-era Peter and the Test Tube Babies, add liberal doses of Cocksparrer, Slade and the Bay City Rollers and you still ain’t even close, buddy. There’s even a serious cover of WASP’s “I Wanna Be Somebody” on here and it wails, daddy-o. God save punk rock. God save the Vanilla Muffins. Sweet Jesus, I’m all giddy inside... –jimmy (Reality Clash)


URCHIN, THE:
Another Day, Another Sorry State: CD
Todd scares me sometimes. It was a typical day at the Razorcake HQ. It was the day the contributors come over for slave labor inserting subscription cards into a new issue of the zine. He tried to sell me on this band called The Urchin. Without listening to it he told me, “If you don’t like it, give it back to me.” I guess I’m not giving it back. First of all, this band is from Japan. A big brownie point in my book of biases. Second, these guys play aggressive while maintaining pop melodies. Third, I love it when the vocalist’s accent is super thick when they sing in English. I hate when Todd’s intuition is dead on. Fucker. I still like him. –don (Broken ReKids)


UK SUBS:
Flood of Lies: CD
Re-issue of their fifth album with original cover art. Musically this is different from the sound the UK Subs are known for, but then again, Nicky Garrat had left by this point. What’s here sounds influenced by darker, gothy stuff like Bauhaus and Rudimentary Peni. Mid-tempos, longer song lengths, and expansive rhythms. Definitely not their best moment, as there are times when the songs waiver, such as “DB’s”, “Soldiers of Fortune”, and “Revenge of the Jelly Devils.” But still an interesting album just the same. –Matt Average (Captain Oi)


U.S. BOMBS:
Put Strength In The Final Blow: CD
Even though this particular barrage of U.S. Bombs audial hostility is a couple of years old, it assuredly still warrants the undivided attention of anyone seeking the ultimate in punkrock unruliness. The vocals are caustic, cutting, and aggressively confrontational... the mayhem-inspiring musicianship is frenzied, fever-pitched, and wildly flailing all over the fuckin’ place... the socio-political lyrics are sarcastic, articulate, and grab-ya-by-the-throat thought-provoking. Yeh, pure blood-curdling punkrock chaos! I’ve deliriously listened to these ballsy blistering tunes for several hours now while feverishly slamdancin’ with my towerin’-and-boomin’ stereo speakers... sure I’m a bloody, sweaty, mangled mess, but I’m more than ready for another unrelenting round of the U.S. Bombs and their ferocious sonic sedition. When I drunkenly stumble off this miserable mortal coil, I want the insurgent sounds of Put Strength In The Final Blow to be loudly played at my funeral... it’ll surely raise me from the dead! –Guest Contributor (Alive)


TWO MAN ADVANTAGE:
Don’t Label Us: CD
A damn good hardcore band with chops up the ass and a hockey theme running through the songs. These guys woulda easily held their own at one o’ those Fender’s Ballroom thrash-o-rama gigs back in the day. –jimmy (Go Kart)


TUSK/ HE WHO CORRUPTS:
Split: 7"
Tusk are an interesting mixture of modern hardcore and grind. The choppy pace and vocals bring to mind bands like Three Studies For A Crucifixion, and then the guitars and the mince drumming have that grind thing a goin’ on. “Depraved Perspective” is a cool song. He Who Corrupts, which features folk from Kungfu Rick, is stripped down power violence. Dry and raspy vocals over a field of brush guitars and the Swedish Chef (Muppets reference) drumming. “Young Boy Attacked by Bees” has some weird shit going on in the music. Which is cool. –Matt Average (He Who Corrupts)


TUFFIES:
You Go Girl: CD
Some of the songs on this appear on Bangers and Mash’s CD, although these don’t have the faux English accents. These are actually better versions, not because they’re better in performance, but because there’s more of a “punk” edge to ‘em and they come off sounding like Rotters outtakes. Considering what tried to pass itself off as punk these days, you could do a lot worse with your money than spending it on this. This is some of the real goods. –jimmy (British Cooking)


TUFFIES, THE:
You Go Girl!... And Don’t Come Back: CD
The Tuffies consist of the same satirically twisted trio as Bangers And Mash (both groups, by the way, include the multi-talented P. Edwin Letcher, editor-in-chief of Garage And Beat! magazine, on guitar and vocal duties!)... but the robust sonic sassiness barbarically blastin’ from this demented ear-shreddin’ disc is psychotic fuzz-drenched garage madness at its most awe-inspiring! It’s primitive “Nuggets”-style snottiness (circa 1966-'68) that’s all-at-once dazzling, intoxicating, and overwhelmingly pleasing to all six senses! Hell yeh, I hear an ear-inflaming influence of The Yardbirds, The Sonics, The Count Five, The Seeds, and even The Cramps crazedly contained throughout these noggin-thumpin’ numbers! The Tuffies raucously rock to the core, motherfuckers! I rowdily recommend this with the utmost of frenzied fervency... –Guest Contributor (British Cooking)


TSOL:
Disappear: CD
Maybe I’m risking my punk rock credentials by admitting this (oh no! Don’t let the punk police take my punk rock passcard away!), but I’ve never heard a full TSOL album up until now. I always got the impression that they’re one of those bands that’s a lot better-known in California, like Love and, um, well, no one else springs to mind, probably because I’ve never lived in California. I know they’ve had a lot of instability in the past, including some kind of legal problem that temporarily prevented a reunited lineup of the founding members of the band from performing as "TSOL" – shades of Moby Grape (or Yes, if you want to be unkind). Disappear is doin’ it for me, though – lots of screeching punk rock guitar and nonstop rhythms. They’ve got the shit down – just sitting here listening gives me that long-absent desire to crash into people and pump my fist in the air and shout along with the choruses, and goddamnit, isn’t that what punk rock is supposed to do? This is the kind of music that comes to my mind when I hear people refer to "California punk rock," though these days they more often seem to mean some collegiate punk-pop band that has more tattoos than talent. No radio-friendly bullshit here as far I can hear, thank god. The need to include radio-ready singles on albums has nearly destroyed the credibility of punk rock the same way it did metal and hard rock, and here TSOL manages to keep the hooky catchiness of the songs without some idiot trying to slick it up to sound like Blink 182. –Guest Contributor (Nitro)


TSOL:
Disappear: CD
All right, I’ll be honest. My first impression of this album was that it sucked balls. The only thing I’d heard worse was the last two Buzzcocks albums. Why? I don’t rightly know, son. Maybe it was because their first four records - some of the finest work punk rock has ever seen - cast a mighty long shadow. Maybe it’s because they turned in to utter shit almost immediately after Joe Wood took over vocal duties and I fully expected this to suck. Anyway, I thought this blew hard and I was not gonna hesitate to shout this tidbit of information from the highest steeple in the land. To be sure that I was correct in my loathing, I listened to the album again. And again. And again. And every time I listened to it, I began to hear more and more of the things that made me love TSOL in the first place. The solid backbeat coupled with the dark tonality of Ron’s guitar. Jack’s inimitable vocals. The sarcasm. The edge. What the fuck was wrong with me?! How could I have thought this sucked? Was I high? Unlike the aforementioned more recent efforts that the Buzzcocks are responsible for, this has been given a hallowed place in the heart (and record collection) of this dour, old-fart punker. Yes, I recommend it. –jimmy (www.nitrorecords.com)


TRUST FUND BABIES:
Up to No Good: 7"
With the luck of the draw I drew a few releases that I might not have been suited to review in a favorable tone. The style was similar at least in two (see Shifters review) of the three releases that I listened to. The two mentioned were also repressed. Good for the label that has the demand to do it. Zines are a tricky issue when you have a label. What old jaded fuck am I going to get to review my releases? In the case of Radio Records, they got me. I have seen and heard and purchased many a release over my 20 years being involved in this type of music by bands that sounded the same as what I have heard from this label. Even with a healthy beer buzz going, this sat on the turntable for only one listen. I started, as usual, on side two and was not even interested in listening to the first side. It probably won’t see the light of day again because I’m not excited to hear it again. The two adjectives I’m going to use for this band and the two others I have listened to from this label is “average” and “generic.” Excite me people, kick me in the groin with your aggression. Don’t rehash something and not add some identity and creativity to it. Everything has not been formulated and used using the three chord formula. If you are bummed on this review, so what? It got the bad roll of the dice and landed before me so that it can excite me or bring my beer buzz down. Bitch and complain is what you read. I’m not going to apologize because it’s my opinion and my opinion only. If you rebut my comments, feel free and write to this here zine to express your opinion. –don (Radio)


TRUST FUND BABIES:
Self-titled: LP
Attention Hostage Records: If you’re looking for new bands to be on your label, look no further than these guys. I don’t think they’re from OC, but some rules were meant to be broken and they sure as hell have the same sound and vibe as Smogtown, the Numbers, the Bodies and all your other acts. You can't lose with this one. The money will be rolling in. Tell you what: I’ll spring for the Havana cigars after you reach your first million after signing ‘em, okay? –jimmy (Rapid Pulse)


TREE:
No Regrets, No Remorse: CD
I should’ve known that there was no way in hell a band named “tree” was gonna be worth a piss. My biceps seem to have grown a little larger and I feel considerably stupider after listening to this, though. If I listen to this a few more times, maybe I’ll look like the Incredible Hulk and have the IQ of a fencepost. Maybe then I’ll even like crappy music like this CD, or Britney, Backstreet Boys or Eden’s Crush. Hey, one can hope. –jimmy (Wonderdrug)


TOYS THAT KILL:
The Citizen Abortion: CD
With FYP going the way of a used Depends undergarmet, my expectations for what, on paper, looks like a recussitation or a ghost-ridden bike of a just-departed band were really low. I liked FYP. They were stupid. Fucking stupid. And I say that with love. Lots of retarded love. Part of the sugar shavings of that candy necklace of love was the almost complete ineptitude of the band. And the dick and fart jokes. Because we all know the basic punk rock equation: bad band plays so awfully, it’s good. If they’re that retarded for real, even better. They helped redefine glorified incompetence, like a Taco Bell employee with ADD, a sense of humor, and full access to the guacamole gun, but with instruments. So when the first thing I heard about that Toys That Kill is that they could play, methought “That’s like saying that lady who had that sock puppet Lambchop could really act.” Who gives a fuck about that? I want sock puppets and stained underwear. Joe Satriani plays well. Fuck that guy. Well, it’s time to break out a can of pink, paint polka dots all over me and throw me in the middle of a monster truck rally. TTK are fantastic. Although seemingly incomprehensible - even to myself - they retain the spastic, wet, warm undie feeling of FYP - but they can play the hell out of a song and there’s social commentary that involves no bodily fluids. As a matter of fact, without ever using the words directly, the whole album’s chock full of anti-authoritarianism. We’ll end with a song quote that sums it up nicely: “but what’s a trip without a little danger?” It’s nice when resurrections work out and the phoenix rising from the ash isn’t just the dust settling from someone pissing out the fire. –todd (Recess)


TIME SPENT DRIVING:
Walls Between Us: CD
Upon my first listen, I admit I was already thinking that even if I didn’t like the static, dreary songwriting style of this record, it might have some quality that would avail itself by the last track. But the down tempo plodding of drums pounded on, and the anticlimactic guitar swells continued. Call it bullshit, but I was even saying to myself, “Well, at least it is well recorded, right?” But, try as I may, I couldn’t erase an image that a friend (while hearing me play this record) planted in my head. It catalyzed something in me when he said, “They have the sound of a band that would be the background music for a sensitive make out scene in American Pie 3. Yes, it is a record loaded with empty, weakly used lyrical devices. The instrumentation at times is arty and momentarily driving but quickly settles back into maintaining a non-threatening, gloomy crawl. So sure, why wouldn’t it fit right in to a hollow-headed Hollywood teen film? Worse yet, "Walls Between Us" aims at evoking some "sad reflex" reaction. It is chock full of somber and depressing emotional stories. Time Spent Driving’s songs on this record are so overwrought with hyper-dramatic situations and sappy blatherings about loves (repetitively) lost, it is an exhaustive and mediocre listen at best. –Guest Contributor (Sessions)


TIGHT BROS. FROM WAY BACK WHEN:
Lend You A Hand: CD
You should have heard the overwhelming “Yes!” resonating out of my apartment when I got this one in the mail. Tight Bros. From Way Back When are probably the most underrated band on the planet today. Their latest endeavor culminates with the all the fury and passion that drove them to kick ass all over this sweet land of ours and finds them venturing into some uncharted territories (Joe Tex cover!). I don’t dare say it and mean for it to be comprehended as an asinine reviewer scumbucket description but damn it, this one’s a little more soulful than their usual straight ahead, take-no-prisoners, rocking wild abandon (did I mention the Joe Tex cover?) i.e. the cult classic rock record of all time – their first full length, Runnin’ Thru My Bones. Dave and Quitty make beautiful destruction together with their double guitar ballet of assault. You can’t mistake those gut-wrenching pipes of Jared, whose voice harkens of Enrico Caruso gargling with straight lye. These guys will sweat, bleed, and barf for your undeserving asses to be moved into a frenzied state of all-out rocking because they are just the type of people that give a shit about rock’n’roll, and I don’t mean no pansy assed “punk” shit either. As The Kids once said, “This is rock’n’roll!” Hell yeah, this is the pure amped-out shit right here. Go get this record and get laid. I’m serious. If any dude put this record on during a make-out session, I would be so floored by his (a) good taste, (b) if he can keep it up to this beat, he must be one savage animal of a fuck, (c) damn that Joe Tex cover. After your sorry butt gets laid, take your date out to physically see Tight Bros. From Way Back When and watch the fireworks fly. Your date will be drenched in beer from head to toe, her lopsided neck will probably not be able to withstand the weight of her own head. She probably had too many beers trying to get drunk before she had to see you in the nude again, but most importantly, she’ll be weak and ready... for round two. Ho, ho, ha, ha – no guarantees in this here review but try it anyways. Oh and yeah, yeah everyone sounds like the MC5 these days. Fuck you. –nam (Kill Rock Stars)


TIGER ARMY:
II: Power of Moonlite: CD
I liked the first release a lot even though I was misinformed on a lot of information. Since it was for another zine, I won’t go into details. The second release is so much better! Nick 13 (singer/guitarist) establishes a permanent line-up of Geoff Kresge (ex-AFI) on stand-up bass and London May (Son of Sam, Samhain, Danzig) on drums. He also recruits Lars Fredericksen and Matt Freeman (Rancid) and Davey Havok (AFI) to guest on this release. Thanks to Hellcat for the extra CD Rom that contained the “Electronic Press Kit” that gave me all this information. But by the time I got this release in my hands, the 3D glasses were gone. I missed out on the 3D interview/movie. Now with a solid standing, this time around Nick 13 and his bandmates put out a classic psychobilly release. Psychobilly is the base here but there are elements of punk, country, and rock that bleeds from their backgrounds. With the added elements, each song sounds unique and keeps the attention of the listener. I normally don’t like psychobilly but Tiger Army has made me a fan. –don (Hellcat)


THREE YEARS DOWN:
Sneakin’ In: 7"
Side one is the aforementioned tribute to Kiss (see other review). Side two is an adequate cover of AC/DC’s “Live Wire.” –jimmy (702)


THREE YEARS DOWN:
Snakes Bite: LP
They look like they play jock-core, but that ain’t what’s comin’ outta my speakers. What I’m hearing is some supercharged, overdriven punk rock‘n’roll that’s causing smoke to emanate from my turntable. Any band that pays tribute to Peter Criss by putting one of his trademark drum intros in the middle of one of their songs is okay in my book. –jimmy (702)


THRALL:
Hung Like God: CD
I’ll give ‘em credit for being original. But this is just bad. Hard rock with an experimental side that goes nowhere. –Matt Average (Reptilian)


MICHELLE GUN ELEPHANT, THEE:
Collection: CD
During the past couple of years, it seems as if I’ve read countless flattery-packed articles zealously praising the roarin’ rock’n’roll splendor of Thee Michelle Gun Elephant. I unfortunately hadn’t been exposed to their manic eruptions of musical madness until bodacious lil’ Betsy Palmer (promo princess extraordinaire at the aurally eclectic Bomp HQ) sent this ear-scorcher of a disc to me several days ago (thanks so very much, Betsy dear!). Hot diggedy dog damn, now I know why TMGE have rightfully warranted all of the frenzied fuss! They noisily, raucously, and enthusiastically create a garagey post-punk cacophony of high-spirited rock’n’roll fierceness... it’s hyperactively swarming with a charismatic over-abundance of energetically uplifting originality and inimitable uniqueness! Oh man, I can only describe this eardrum-batterin’ quartet as a four-headed nuclear-spawned reptilian monster sonically rampagin’ through the smolderin’ remains of The Who (circa 1965-67), The Stooges, Husker Du, Agent Orange, a harder-edged PIL in certain places, Mission Of Burma, The Makers, and even a bit of Dicks and Big Boys (with a spicey stirring of Chuck Berry riffage tossed throughout). After only one listen to this gut-pummelling platter of joy, it blew the fuckin’ enamel off my teeth in 30 seconds flat! –Guest Contributor (Alive)


TEMPLARS:
The Horns of Hattin: CD
These guys have been a guilty pleasure of mine ever since my friend Art Muñoz turned me on to these guys a few years ago. Even at a time when I think skinhead music has hit an all-time low, these guys remain an exception to the rule. The sound here is more polished and less tinny than usual, but the songs don’t suffer in the least. They still have that Oppressed meets 4 Skins sound and I personally wouldn’t want it any other way. –jimmy (GMM)


TED LEO/PHARMACISTS:
The Tyranny of Distance: CD
At best it recants the energy of The Wedding Present or Television, but overall this album is lackluster intelli-wimp-rock. The singer has an annoying tendency to yodel his way through the high notes. There are some shining displays of highly texturized guitar work here but damned, why are they so reserved about rocking? What’s the fucking point then? When did self conscious wanking override the raw power of guitar feedback and feral grunts? Why neuter your music when there should be asshole bullshit neutering instead? Let the people rock without all this introspective exegesis. –nam (Lookout)


SUPERKOLLIDER:
Self-titled: CD
Post-Helmet metalcore. I couldn’t even make it all the way through a single song without wanting to throw the stereo out the window. I really, really tried. –jimmy (Wonderdrug)


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