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Record Reviews

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Below are some recently posted reviews.

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VAZ:
Dying to Meet You: CD
Plopped this in with the expectation that I was about to be annoyed by yet another two-man band trying to cash in on the fluke that is the White Stripes, so imagine my glee at being blown away by some of the best skronk-pop to come along since Sonic Youth started laying off the sheets-of-noise approach and actually tried to adhere to conventional song structure. This is rife with guitar noodling that would make Lee and Thurston beam with pride, complimented by some seriously wicked drumming. Derivative, yes, but a rehash? No. While reminiscent of that famous New York band, these guys have enough of their own twist to keep the proceedings inventive and fresh. Most astonishing of all, they’ve managed to create the same amount of racket with half the band personnel. –jimmy (GSL)


VARIOUS ARTISTS:
VooDoo Rhythm Label Compilation: CD

It’s a pretty decent compilation of very primitive rock and roll on the VooDoo label. Taking cues from the likes of Norton, Sun, Estrus (the years of 1994-1997) and Crypt as far as musical direction, but adding in a spooky halloween record and a European bent; giving a home to Lightning Beat-Man, John Schooley and DM Bob and the Deficits. It’s a good introduction to a label that has put out a slew of records in the past eleven years, but still hasn’t seen much American recognition, except from a few Beat-Man fans. –Wanda Spragg

–Guest Contributor (VooDoo Rhythm)


VARIOUS ARTISTS:
Get into the Underground Groove: 7"
Four bands each contribute one song to this seven inch. One of the bands is called the Goxxip and they’re fronted by the singer from the Gossip, and another band, The Supreme Indifference, has Kim Gordon from Sonic Youth and Jim O’Rourke, who often plays with Sonic Youth. I really like the Gossip. I really like Sonic Youth. I often like Kill Rock Stars releases, too. So I would think that this would be a pretty good record, but I was dead wrong. I couldn’t find anything I liked about this seven inch. I could hardly stand to listen to it all the way through. It’s just too much noise and not enough song to hold it together. –sean (Kill Rock Stars)


VARIOUS ARTISTS:
Boston Scene Report: CD
Four bands from Boston are highlighted in the first scene report series put out by TKO. Suspect Device: two really solid tracks. They’ve nailed down catchiness without embracing a pop sound. Tommy and the Terrors: I can’t recommend them highly enough. These guys have been around for awhile now and never leave me less than impressed. It’s bands like them that let me keep my head held high when I say I like street punk. A-Team: on the first song I thought I heard a lot of Motorhead influence. The second track was a Motorhead cover. The Fast Actin’ Fuses: psychobilly meets metal riffs. Not necessarily a combo I’d recommend. I don’t know how well a full length would fare with me, but the two tracks aren’t enough to keep me from listening to the comp. So, I guess I’ll get used to it. On the whole, a good comp. I just wish there was more – either of tracks or bands. –megan (TKO)


VARIOUS ARTISTS:
Punk Seven Inch CD, Volume One: CD
This is a collection of six seven inches that Lookout released in 1988 and 1989, and it was a cool thing for me to pick up because I used to order a lot from Lookout ten years ago, and I always wondered what these seven inches sounded like, but I never dropped the three bucks down to find out. So now I have my answer. The first two bands, Corrupted Morals and Isocracy, sound so similar that I can never tell when one band ends and the next begins. They both bridge the gap between the Dead Kennedys and Green Day, but neither Corrupted Morals nor Isocracy has anywhere near the talent of the bands that came before and after them. Both bands are snottier than a six year-old’s sleeve on a rainy winter day. The next band, Plaid Retina, sounds like a sped up Corrupted Morals or Isocracy. Still snotty. Still forgettable. Next up is the Yeastie Girls, who do a cappella raps about women’s issues and left wing politics. I’m not sure if it’s a joke or not, but I know I’m not listening to it twice. The next band is Surrogate Brains, and finally, you can hear some of the sense of humor and infectious melodies that made Lookout famous. These guys even forgo the snottiness for some sincere, gruff vocals. The Surrogate Brains EP would’ve been worth my money ten years ago. Finishing this disc off is Kamala & the Karnivores. Man, Kamala’s so nice; I’m such a dick. (Sorry, couldn’t resist). They put out four awesome, female-fronted pop punk songs (pop like the Go-Gos, punk like the Ramones. You can’t go wrong). So this basically comes down to a forty-seven song disc with ten good songs on it. That’s not a very high batting average. I don’t think these original seven inches are out of print, so you’d probably be better off picking up the Surrogate Brains and Kamala & the Karnivores records and letting the rest of it fade into obscurity. –sean (Lookout)


VARIOUS ARTISTS:
Tower 13: LP
Compilations are a harder and harder racket. On one side, you usually have to sell them for less than a regular album, you have to deal with the personalities, logistics, and maintain consistent recording environments of seventeen bands, but mostly, comps have been smeared by the assy sampler. (A sampler collects previously released tracks under the premise of introducing the listener to new bands by luring them in with the bigger name bands.) The fact that the tracks on Tower 13 were made specifically for this comp and aren’t just donky, cast-off mediocre covers should give you some idea how much faith is put in Hostage by bands that aren’t necessarily under its wing. Heap on top of that if you have the guile/cajones to release a comp only on LP, you’re almost committing financial suicide. That is, if no one cares a lick about any of the music on it. The power of Tower 13 is that not only are Hostage honchos Rick and Paul upright citizens and righteous defenders of both vinyl and the true OC punk sound, they have great taste in music that’s wide enough for the bands and songs to differ from one track to the next, but their tastes are contracted enough so it all sticks together with some dysfunctional, sandy glue. Say you lived in Croatia. If you listened to this fucker all the way through carefully, you’d have to shake the dirty water out from the sleeve and get a hepatitis shot after the needle returned to its cradle. The OC I know is fully representing, staring you right in the face, cracked stucco, stained teeth, neck tattoos and all. This comp is a little different from Cuts, the last blazing Hostage comp, in that there are few run-away favorites. It’s solid from tip to tail and I like best it as a whole unit, like an hour of the best radio show you can imagine. It’s rare that I’ll say a comp is essential. This one is. I, literally, bought five of these to give to friends. Here’s the band list: The Drips, The Fakes, Smogtown, Broken Bottles, The Pegs, The Main, The Decline, Ciril, Smut Peddlers, The Crowd, D-Cup, The Revlons, Discontent, The Negatives, Thee Indigents, and Cell Block 5. –todd (Hostage)


VARIOUS ARTISTS:
The Sound of San Francisco: CD

A compilation bands currently making the scene in San Francisco, including Black Cat Music, The Coachwhips, Big Midnight, The Aktion and others. Although it serves as a nice primer of the myriad of sounds the SF rock scene has to offer, some of the stuff here veers closer towards ‘70s rock than is comfortable.

–jimmy (Alive)


URINALS, THE:
What Is Real and What Is Not: CD
To give all due respect, the Urinals have been around for a long time – starting as a punk parody band in 1977. They quickly developed into a real band, had disagreements, changed their name to 100 Flowers, called it quits, then reformed in a slightly different form, and changed their name to Trotsky Icepick. The Urinals were a supporting band the night Black Flag was arrested onstage in LA for disturbing the peace. Somewhere in or after all that, Amphetamine Reptile released a compilation of many of the difficult-as-fuck to find 7”s, titled Negative Capability… Check It Out. That’s a great listen. You get to hear how they began like Wire and where the Minutemen quite possibly got their knack for short but full songs. A bunch of more well-known bands have gone to cover Urinals songs. The Butthole Surfers pop right into mind. What Is Real and What Is Not is their first release of new material since 1984’s Drawing Fire. The Urinals have always been arty, but I remember more bits of shattered glass in the listener’s ear. This CD is nice. Nice. It’s not patently disappointing, like Devo going into the studio and re-recording “Whip It” specifically to make an advertisement for a home duster, but it’s also not patently exciting, like the charge the first time I heard “Ack Ack Ack Ack” or “Sex.” A lot of the songs on this CD are extremely light and fluttering, like David Byrne’s solo work after the Talking Heads, which can be clever and pretty, but I just don’t find myself hankering for it. In other words, they’re covering the ground well covered and sown in late-90’s indie pop instead of jumping into the noisy direction of whence they came. That all said, “I Make Love to Every Woman on the Freeway” is pert, catchy, and as itchy a song you’re bound to hear this year. The Urinals are a band who’ve gone from angst to a more dust-free environment. Take that as you will. –todd (Warning Label/Happy Squid)


UPPERCUT:
Four Walls: CD
Your average NYHC release, meaning that it’s up to its Marshall stacks in metal and boring as fuck to wade through. –jimmy (Blackout)


UNSEEN, THE:
Explode: CD
It’s tough for me to wholeheartedly endorse The Unseen partially because it bugs me when bands go so far to dress up like classic punk rockers. It’s my hang up, I know, but really, it’s not Halloween and you’re not shocking anyone. You’d be better off just wearing what’s comfortable. Also, I think The Unseen’s over-the-top crusty look tends to stick them in a category with much lesser bands like the Casualties, which is a shame, because The Unseen is way better. My other hang up with The Unseen is that I liked guitarist Paul Russo’s first band, The Pinkerton Thugs, so much better. When I can get beyond those two things, which really are my problem and not the band’s, I have to admit that The Unseen is a solid band. They bring a lot of energy to their songs, and, though it’s fast and angry throughout, there’s enough difference between songs to keep things interesting. I like the way Paul sings, too, and he seems to be singing more on Explode than he did on their last album. Overall, it makes for a pretty good listen. –sean (BYO)


UNICORNS, THE:
Who Will Cut Our Hair When We’re Gone?: CD
Do you ever pick something up because it looks so terrible that you assume it has to be good? This is a perfect example. First, they’re called the Unicorns for fuck’s sake. That should be such a badass band in my book. Second, the cover has a rainbow and lightning drawn in colored pencils. Finally, the back is hot pink with super curly-q letters that you can barely read. That being said, this is quite possibly worse than the packaging. Sort of like Portishead, but without any redeeming qualities like decent vocals and music. –megan (Alien8)


ULTIMATE FAKEBOOK:
Electric Kissing Parties: CD
It’s one of those bands that you see at the local club on a week night that are almost punk but mostly rock. They put out a CD! –don (Law of Inertia)


TYRADES, THE:
Self-titled: CD
If it’s not painfully obvious by now, it will be. I’m a geek. On the toilet, I often read grammar rules. This time, I had the Tyrades on, blasting their spazzy, shouty, and noisy punk rock that knows how to cut the crap and slice the song down to bone and fur. Lead vocalist, Jenna, is a siren. The playing’s perfectly demented, skewed, and always rushing forward, sort of like a drug-manic early, proto Devo mated to a band that sounds like they break metric tons of instruments. Even when they repeat choruses over and over again, it doesn’t seem like pointless repetition, but stalking, teeth-baring taunts. Then I came upon these two sentences in Strunk and White’s Elements of Style. I only had to change one word. “Never imitate consciously, but do not worry about being an imitator; take pains instead to admire what is good. Then when you play in a way that comes naturally, you will echo the halloos that bear repeating.” That’s exactly what the Tyrades do. To a tee. –todd (Broken Rekkids)


TRAVOLTAS, THE:
Endless Summer: LP

Jock #1: Duuuuuude, it’s totally like a new Blink 182 record, brah! Plus there’s this fuckin’ sweet ass keyboard that makes ‘em sound like No Doubt, dude!

Jock #2: Blink 182 mixed with No Doubt? Totally fuckin’ sweet, dude. And have you heard the new P.O.D.? –Not Josh –Guest Contributor (Radio Blast)


UNPERSONS:
III: CD
By-the-numbers emo-tinged metalcore. Lotsa tempo changes, lotsa screaming, lotsa crunch, but I couldn’t keep myself remotely interested. –jimmy (www.atalossrecordings.com)


THREE MINUTE MOVIE:
The Film Reflects a Dramatic City: CD
I can honestly say that I’ve loved everything I’ve heard from Snuffy Smile. They’ve introduced me to great Japanese bands like Baggage, I Excuse, The Urchin, Minority Blues Band, and Pear of the West, and they’ve releases seven inches by some of my favorite American bands, like The Thumbs, Super Chinchilla Rescue Mission, and The Timversion. So I had a feeling that I’d like Three Minute Movie, and they didn’t disappoint me. Actually, I had more than a feeling. I had one of Three Minute Movie’s songs on a comp, and whenever the comp ended, I’d find myself singing the Three Minute Movie song in my head. It’s good stuff. Mid-tempo punk that borrows a little from Leatherface (in the way that it can really crank up the tension in the songs) and a little from Hüsker Dü (pulling perfect melodies out of songs that sound like they could explode into chaos) and some guitar parts sound like they come straight from the Replacements, but ultimately it becomes its own thing: very tight and very skilled without being the least bit polished. It looks like the title of this album suffers a little in the translation from Japanese to English, but nothing is lost in the translation of the rest of the album. It sounds just right in any language. –sean (Snuffy Smile)


TRAGEDY/ TOTALITAR:
Split: 7"
Tragedy’s the band that I’ve been looking for for over a decade. They hit all the right spots. Dark, edgy, full hardcore that isn’t a throwback, that is intelligent musically and lyrically, and there’s not one gap, from the artwork to the nuclear radiation flying off the record player as the vinyl spins. Not to sound like a hippie, but the songs simultaneously soar higher and snap louder than any hardcore band I’ve heard in years. These two songs, “No End in Sight” and “None of Your Business,” were recorded at the same time as their debut album. Flawless. Totalitar: are fantastic in their own right but don’t flick all of my switches like Tragedy. I sort of wish it wasn’t on a split with Tragedy, because I know when I’ll pick this out, I’ll be playing the other side three or four times in a row. –todd (Armageddon Label)


TRASH CAN SCHOOL:
Big Bang Radiation Blues: CDR
This was sent to my brother Katz, who I believe has not written one word for this magazine. He was only involved before issue #1. I guess it was because of the Flipside magazine association of the other contributors and staff that this would be sent to Razorcake. Since it was for my brother, it was put in my box. I never bought, listened to or saw this band before. I do remember the name and I equate it to the late ‘80s to the early ‘90s. If you are from the LA area from that time period, I would associate this band as a Raji’s or Al’s Bar type of band. To be more specific, I’m picturing Saccharine Trust. Noisy, dirty, jazz punk that bangs along while you go for that twelfth beer of the night. Not my thing. I will hand this to my brother since this was addressed to him and not keep it for myself. –don (Jinx)


TEARS, THE:
Self-titled: CD
One of the greatest tragedies of my generation is that i used up all my good Tears wisecrackery in an earlier piece, as this band continues to fail to produce any manner of strong reaction with me other than an occasional acute appreciation for the glories of kneesocks and playing guitar on one leg. I mean, on the one hand, they’re kinda good; on the other hand, they have like exactly zero by way of legitimate “A” material. On the mysteriously unaccounted for third hand, however, they do have a fairly decent supply of B+ material (“Miss Queen” “Never Alone” “Another Girl” and “Worst Lie” coming immediately to mind) (well, not immediately, i kinda had to look at the track listings to jog my memory, but, i mean, you know, fairly immediately thereafter), so who am i to be critical? Yet, on the one hand, the songs kinda lumber along when, by rights, they oughtta be snapping and crackling; on the other hand, maybe it’s the lumbering that would theoretically set them apart from those who wouldst waste our time with their incessant snapping and crackling. Yet, back to the first hand, the whole “punk-fed, blues-weaned, and barely legal!” thing has been kinda universally beat to death for years; yet, then again, there are enough idiosyncratic aesthetic elements bouncing around in the mix that the band is managing to forge a collective identity regardless. But, then again again, i really see no evidence of legitimate creative genius at work, nor indications of the latent presence of same. But, then again again again, how much of that does one really need to function effectively within the parameters of the rock & roll idiom? But, yet, on the one hand, a lot of those student-level blues string-bendin’ riff thingies are pretty hokey and played out; yet, on the other hand, some of ‘em are really fuckin’ cool (“Worst Lie”), though, back to the hand we started on, i can’t imagine anybody, anywhere, wanting to hear white kids from Wisconsin singing the phrase “Tuesday morning” as “Tuesday Mo’nin’,” and what was the last truly great song written by caucasians that accented the 2 and the 4? “Taxman?” But then again, there’s that last song (“I Know It’s Hard”), reminiscent of that Joe King/Lisa Marr duet of a few years back, but sung by what sounds like a pair of short school bus riding coeds in matching his and her hockey helmets after their being partially euthanized with nail polish remover on the way to the studio. Now THAT’S a beautiful thing, man. BEST SONG: “Miss Queen” or “Worst Lie” BEST SONG TITLE: “Blew My Baby Away,” although “Fast Cars” worked pretty well for the Buzzcocks FANTASTIC AMAZING TRIVIA FACT: Back cover depicts guitarist Natalie perusing an issue of Cheri, which was the first skin mag i ever bought, back when i was confused about my sexuality (i.e. i thought i dug white girls with big tits) –norb (Trick Knee)


SWEETHEARTS, THE:
L.U.V.: CD
I’d think it would be tough to combine solid Texas rock’n’roll with Nikki Corvette-style bubblegum vocals, but The Sweethearts blend them together seamlessly. The songs rock and make me want to sing along, and that’s a good combination. L.U.V. comes across like the best of The Chubbies, or an Eyeliners live set when the Eyeliners are really on. It’s good shit. –sean (Mortville)


SUSHIROBO:
The Light Fingered Feeling of: CD
Smart “modern rock” screaming for KROQ airplay. Sadly, they’ll probably never get it. –jimmy (Pattern 25)


SUPPRESSION/ATOMATRON:
Split: EP
I’d heard the tremendously noisy Suppression on a couple comps and expected big, fucked-up things from them, and ain’t now yet disappointed as two of these three tracks do a slightly-less-manic Lightning Bolt and the third is pure noise. One’s called “Boy Vomits Hamburger in the Full Moon Light.” Atomatron’s more drug-oriented, what with the reverb motherfucked vocals and some of the tense breakdowns. No guitar, so there’s a little Lightning Bolt shooting through these guys, too. Makes the sound “bwowdleowldedodoot.” –Cuss Baxter (C.N.P.)


SUBSET:
Dueling Devotions: CD
Jimmy got to Razocake HQ before me and all he left me to review was this lousy CD. –don (Tight Spot)


STUN GUNS:
… And There Was Nothing We Could Do About It: LP
I was handed this at about four in the morning from someone I think everyone was calling Buddha at someone’s house I’d never been to while a Great Dane was eating dumpster pizza off of the counter. I was a little less excited the next morning. Hungover and finally home, I put it on. Holy shit! This album is so good. It’s one of those albums where you can hear small glimpses of a band, but on the next listen you hear someone completely different because they’ve made it all their own. This listen I’m getting some Vindictives, but I’ve never heard that in there before. Songs range from Tiananmen Square to girls on drugs. I’d never heard of them before, and this is one hell of a taste. Apparently, Dan Destructo from No Fraud was involved in some of the recording for this. The packaging is right up there with the sound. It’s on clear vinyl, which I’ve always liked the most for some reason, with a screen-printed cover (red on black), and a ton of goodies thrown in as well. Well worth looking for. –megan (Shut Up)


STRYCHNINE:
Oakland Stadtmusikanten “Live” in Bremen Germany: CD
A soundboard recording of an Oakland band playin’ in the fodderland. Sound quality is good, naturally, and the performance is strong as well. Musically, their gallop-core didn’t quite make me all giddy inside, but their cover of “We’re Desperate” elicited many a belly laugh. –jimmy (TKO)


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