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Record Reviews

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Below are some recently posted reviews.

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GARLIC:
The Murky World of Seats: CD
Peppy, quirky college pop. Songs are well written, even engaging in some spots, and the singer reminds me at times of Neil Young, but there’s nothing here I would call crucial.
–jimmy (www.bellaunion.com)


FROM SAFETY TO WHERE:
Irreversible Trend: CD
Since At the Drive-In is gone, this might do.
–don (Radical)


FLIP TOPS, THE:
All Worked Up: CD
I haven’t stopped listening to this since it came in the mail. Everything about this album is spot-on. Todd says it sounds like a slower Candy Snatchers without operatic vocals. I hear Dead Boys in the guitar, but only on certain songs. Some of their lyrics are pretty dumb, though: “Makes me drink until I’m drunk and then I’m wasted… wasted.” Heavily rock’n'roll influenced. Helluva good record here.
–megan (Rip Off)


FLEAS & LICE/RESTARTS:
: Split CD
Fleas: They take their musical and lyrical cues from bands like Broken Bones and Varukers, with loud, slightly metallic guitars and rants about the evils of the system. A nice addition to the spiky, dyed and dirty subgenre of bands. Restarts: More metal in sound, but they pretty much run along the same lines as Fleas and Lice. Lotsa perky, spiky hair in the poorly reproduced pics. Not bad.
–jimmy (Rejected)


FLASH BASTARD:
Bastard Radio: CD
Catchy, candy ass pretty boy party rock. It just so happens that catchy, candy ass pretty boy party rock rubs me in all the wrong ways. I'd bet the farm that these guys want to be the next Good Charlotte and that alone should convey to you the degree of suckage happening here.
–aphid (Longshot Music)


FIVE DAY MESSIAH:
New Rock Regime: CD
NOTICE TO BANDS THAT WANT TO BE REVIEWED: If you decide to make a stupid joke song that sounds nothing like the rest of your music, make it really short if possible, but if nothing else, do NOT put it first on your album. The first track was so lame and horrible that I almost took out the CD and threw it away, knowing it would have no resale value and that nobody I know would like it... but wait! The rest of the songs are... real! Reminds me of the art punk I see live in converted loft spaces with DIY shows with lots of metal influence. Screamy bike punk stuff! Wow! These guys would have made a really great CD if they didn't ruin it with that annoying first track that I would have to fast forward to listen to this album ever again. Imagine for your birthday, your friends baked you the best tasting cake ever, it just has dog doo for decoration. I would likely endorse these guys live, other releases by them, or a version of this album in reverse order.
–rich (Not Bad)


FIRST GRADE CRUSH:
Our Time Down Here: CD
The press release says they’ve been compared to D4 and RFTC. I plan to hunt down the people who said those things and hurt them. And not nice like last time, either. I will happily admit that this band is quite reminiscent of Fishbone, Less Than Jake and, in Dickie’s less gruff moments, the Mighty Mighty Bosstones. From this, you should infer vaguely punk-like guitar-driven music, a horn section and a heavy ska influence. You can also infer anything else you like, because this record does fuck all for me.
–scott (Jump Up)


F-HOLE:
Self-titled: 7" EP
I feel like a fuck hole for making it to the second song.
–megan (F-Hole)


FARSE:
Boxing Clever: CD
Ska is what they are going to be labeled as, but this band is definitely presenting more to the listener. Ska, two-tone, punk, dub, metal, reggae, new wave and rock are all incorporated to keep the songs individual here. The finished product is an interesting melodic blend that keeps this listener intrigued. The vocalist is one strong tongue twister when he belts out his lyrics. The guitars are recorded superbly and can start off clean and turn at a moments notice into a fierce metal sound. I truly enjoyed this and hope others will too.
–don (Moon Ska Europe)


EXCESSIVES, THE:
Self-titled: CD
Any band that photoshops a ‘hawk and a guitar case onto the original picture from the marquee poster of The Exorcist is definitely going to get pulled outta the review pile for Dale to check out. That CD cover fucking rocks and I’m hoping there’s a shirt available of it. The Excessives’ full length here is chock full o’ skanking surprises like “Knife Fight on the Beach," “Shitheal," “Side Track” (which sounds a lot like Dee Dee Ramone’s song, “I’m Zonked Los Hombres”), and a rollicking version of The Simpletones “I Like Drugs." It’s eerily ironic that they chose to cover an old Simpletones tune, ‘cause the first band that the Excessives reminded me of was So. Cal’s own Riotgun, and believe it or not, ex-Simpletone Danny Ruiz has been playing bass for Larry Hernandez’s almighty Riotgun for some time now. Small fucking world. Street punk fans might take a shine to this – chunk riff heavy but not being stingy with the up-tempo jams, either. Would like to see this outfit live. Besides a hot-diggity-fucking-dawg of a CD, it’s also enhanced as well – you get three videos to check out on your computer, which are rather cool because they’re of The Excessives whirling it up at gigs, all with plenty of crowd interaction to boot. I love it when bands include this stuff on their discs. Now all I ask of you guys is to write a song entitled, “Pazuzu," and you’ve got a fan for the existence of your band.
–dale (Longshot; www.longshotmusic.com)


EVEN WORSE:
You: CD
For those either too young to know or too brain-damaged to remember, this is an old New York punk band that featured one Jack Rabid, also known as the head honcho at Big Takeover Magazine. The band existed during that awkward time between the downfall of the Big Apple’s “classic” punk scene surrounding CBGB’s and Max’s, and the rise of that city’s “classic” hardcore scene, centered around the 171A and, uh, CBGB’s. The music contained on this disc consists of a great “lost” album, and a great live set. The music is raw, crude and infused with a healthy dose of humor, as it should be. If you do happen to remember ’em, all their big hits can be found here, including the tracks from the “NY Thrash” tape and a studio take of “We Suck,” which this reviewer remembers only a live version being released prior (which is here also), which can be found on his tattered copy of the You Can’t Argue with Sucksess comp. Recommended.
–jimmy (The Big Takeover; www.bigtakeover.com)


ERGS, THE:
The Ben Kweller EP: CD
This is the cutest record I’ve heard in long time, and I like it. It’s so sweet, but it’s done so well. It’s poppy and they sing about not getting the girl, about having to kill the girl’s boyfriend, about having a pool party to look at the girl they like. The only negative thing I have to say is about the last track. There’s thirty seconds of feedback, the one minute song, a hidden track of a Randy Newman parody, then a NKOTB parody (the “girl, you’re wicked awesome” song.) It’s just too much for me. Cut all that crap out and I love the album.
–megan (Fongul)


ELEPHANT MAN:
Self-titled: 7"
This Bay Area band (or project?) features members of Capitalist Casualties, Agents of Satan and Plutocracy. Lyrics, I assume, are sung in Japanese because that is how they are written out and I can’t tell from the screaming pouring out of my speakers. The music is heavily Black Sabbath soaked but tends to veer out of control into the thrash vein. Slow, fast, slow, fast. It makes me dizzy. An aural experience of pain and despair with rage and aggression. Like smoking pot for awhile, then doing some lines of methamphetamine and some heavy drinking to come back down. Their cover of Black Flag’s “Thirsty and Miserable” kicks ass on Lemmy’s (Motorhead) version on the Rise Above comp. Music that would put my nut sack into knots.
–don (Impatience or Indifference)


EE:
For 100 We Try Harder: CD
...for 200 will you cease trying completely? WORST SONG: "Swallowed East" (Christ, i HOPE that's the worst song!) WORST SONG TITLE: "Promise Sleeps Under a Tree" FANTASTIC AMAZING BLURB FROM BAND BIO: "A fluid mixture of textured pop, improvisational post-rock, torrential washes of noise, and droning instrumentals gives EE the quality to both embrace and challenge the indie rock status quo from whence they came."
–norb (Asian Man)


EAST ARCADIA:
We Only See From Where We Stand: CD
Pop punk with meaningful, if non-specific lyrics. Some bands tell you society sucks, some show you how it does, or why it does, these guys write metaphors around it. There is a definite posi-core vibe to this – there is bad, but a feeling we will overcome. I keep going back and forth between if these guys remind me more of Strike Anywhere (which they sound a LOT like – but more in an affinity sense than a rip off one) or the weird rarity of Christian punk that is more punk than Christian (it does exist, it just is really unusual). I don't mean preaching, I mean having lyrics about personal responsibility and being good and society and that, and music that backs it up. I like this, but I kept looking for the Jesus references that are hidden somewhere.
–rich (Gekido Comet)


DS-13:
No One Will Thank You When You Are Dead – A Collection of Old, Rare, Unreleased,: CD
Up there in importance in recent years along with Crudos' Discography and Charles Bronson's Complete Discography, this is a handy way to pick up the bits and pieces not on their full lengths (get Killed by the Kids, if you feel like getting that fuzzy feeling of being staple gunned to a wall), some live tracks, and four previously unreleased ones. Demon System 13? Who's that? One of the banner holders for DIY international hardcore, living proof that American Hardcore: A Tribal History's author, Steven Blush is a fucking idiot asshole for claiming any and all hardcore dead and irrelevant ten years ago. DS-13, as well Crudos and Bronson, were in the spearhead to a nuclear arsenal of bands that continued, raised, and kept relevant the state of hardcore, long after Black Flag, The Circle Jerks, and Minor Threat (three great bands) gave up the ghost. No-bullshit, no stupid metal-disguised-as-punk-because-we're-bald Victory-conspired cruddup. Just pure, fast, hard, intelligent Swedes, who never lost their sense of humor (as evidenced by song titles "Upperclass Vegans Vs. Non-PC Bums" and "The Return of Hardcore Jesus") while pounding away at forty songs. A great introduction to a band that, unfortunately, called it quits.
–todd (Deranged)


DROP DEAD/TOTALITAR:
: Split 7"
What a great combo for a split! I have always liked Drop Dead. They are fast but unique. They always seem to be a step above their peers. The two LPs I have by them are pure classics. They contribute six songs on their side. I believe you can only put about 7-1/2 minutes of music, max, per side on a 7" record. So you know that they are giving you a mass quantity of manic thrash for your gritting teeth to enjoy. Swedish legends, Totalitar, round out this split with their brand of crust meets Dis-core. Three songs that are abrasive as sandpaper and as energetic as a new set of batteries. Two different interpretations of the international madness we call punk.
–don (Prank)


DRIVE LIKE JEHU:
Yank Crime: CD
This album was originally released on Interscope Records in 1994. It was the follow up to their amazing, self-titled first album. Since it was still ’94 and I wasn’t quite as savvy as I am now, I’d still pick up albums on major labels. I bought a copy and I wasn’t disappointed. In fact, I fucking loved Yank Crime. I spent so much time getting high and listening to it back in those days that, when I put this reissue of the album on now, I catch a contact buzz. So, yeah, I’m excited that this album was re-released. It’s one of those albums that inspired so many crappy bands that you almost have to own it just so that it can stick up for itself. But more than that, Drive Like Jehu was a groundbreaking band, a band that was able to take some of the best elements of Sonic Youth and Fugazi and Rocket From The Crypt (John Reis from RFTC was also in Drive Like Jehu) and fuse them into wild, divergent, powerful songs. At times, Drive Like Jehu were a bit self-indulgent. You do have to sit through thirty seconds of feedback just to get to the song “Super Unison,” and they're not afraid to repeat certain riffs so many times that you go through stages of liking it, getting sick of it, hating it, and liking it again, all in the context of one song. And, on this re-release, they’ve included the original version of “Sinews,” something that was probably best left wallowing in obscurity. But Drive Like Jehu’s originality more than makes up for their periods of self-indulgence. This re-issue also includes two tracks that weren’t included the first time this album was released: “Bullet Train to Vegas” and “Hand over Fist”. Those two songs may be the best thing I’ve heard from Drive Like Jehu.
–sean (Swami)


DRIVE LIKE JEHU:
Yank Crime: CD
Drive Like Jehu, like Jawbox, were two of the very first bands which made me realize that if you imbed the vocalist and use their voice as an instrument instead of it being the focus of a song, the whole composition and intent of music shifts a bit. When this first came out, I listened to it for over a year in high rotation and it wasn't as perishable as other things because it was so dense, but so fast and complex. Prior to Yank Crime, I don't think I'd ever sat through a nine minute song (like "Luau!") without squirming before. With Drive Like Jehu, I didn't get bored with the vocals, because it's so easy to pay attention to any other instrument and take a sneak peek into how songs are made. If you've never heard of Drive Like Jehu, imagine yourself naked and imagine one of those temporary tattoos that comes in a Cracker Jack box. Imagine that tattoo as big as your entire body, have it be a map of a foreign land with lines as complex as your own circulatory system. Wet the tattoo, then have the whole thing applied to the drum of a steamroller. Have it run over you. It's thick, complex, dynamic rock, fast enough for punks, hard enough for rockers, but also very mentally crushing for egghead dorks such as myself. They've got the audio taffy down to a tight science. When the songs slow, they scream and pull in different ways and bring out diverse comparisons, including Kronos Quartet. Differences from the original and this reissue? To no fault of their own, for some baffling reason, a limp wristed squadron of emo bands have latched onto Drive Like Jehu as an influence. Don't let those toolboxes deter you from a great album.
–todd (Swami)


DRESSY BESSY:
Little Music: CD
This would be the perfect band to having playing the big party if you were Jennifer Love Hewitt and something dramatic would happen and the music would just fade out, but people would keep dancing. For anything else it just pretty much blows.
–megan (Kindercore; www.kindercore.com)


DOWNTOWN BROWN:
Moist & Ridiculous: CD
If I owned a farm, I’d scrape me up the biggest pile of horseshit I could, stand back, and toss this disc on top of it just to watch the horseshit dive outta the way so’s no one would think that it was in any way associated with this disc. More succinctly, to say this sucked would be an insult to bands that suck.
–jimmy (www.staticrecords.com)


DOLLY PARTON:
Halos & Horns: CD
This was an impulse buy. My cousin who works for a big recording studio told me about this. He told me that this was brilliant! Brilliant?!? That peaked my curiosity. I am one not to appreciate country music. I think of it as top forty music with a twang in the vocals. At least that is what modern country sounds like to me. I do like Dolly Parton’s song “Jolene,” which was covered with perfection by the band Strawberry Switchblade back in the '80s. I was at Best Buy anyway, buying some blank discs for the computer when I saw this out of the corner of my eye. I grabbed it and said what the hell. I was there to also pick up the new Tracy Chapman. The first thing I noticed on the package when I got home is that she is doing a cover of Led Zeppelin’s “Stairway to Heaven.” That alone makes it a great purchase. Can’t wait to hear it. I popped the sucker on to hear the stripped down, old school country I remember hearing as a child back in the '70s. Very rootsy and not annoying like the overblown pop that passes as country these days. I discover another cover in this release and it’s Bread’s “If.” I didn’t recognize it at first, but I knew I had heard it somewhere. A brief search on the internet rewards my curiosity. I forward through the CD to “Stairway to Heaven.” Here is a song that I could not stand listening to because of how much it was on the radio and being played by students when I was in junior high and high school. They were teaching the song to the guitar students too. I would hear it everywhere. The only time I enjoyed it was the times I would see Dread Zeppelin play it. They took it as their own and made you believe it was theirs. The same with Dolly. She adds her beautiful voice and rearranges the song to make it her own. It's old school, in the way that people appreciate Johnny Cash. I can’t believe I bought this but I can’t say that I made a mistake.
–don (Sugar Hill)


DISTRACTION, THE:
Calling All Radios: CD
Kudos to the graphic designer, this looks way better than it is. Starts out with "My Sharona" type drums, then adds a bizarrely "We Got the Beat"-esque bass riff, then everything kicks in and it sounds nothing like the aforementioned whatsoever. My best description is "apparent teenagers trying (either knowingly or unwittingly) to emulate the Ruts, minus the reggae parts, with lyrics that, a la Head's The Monkeys album, fail to be minimalistic enough to be interesting solely as minimalism, but succeed at being just minimalistic enough to come off as entirely deficient. But in a nice sleeve." How a band can play fourteen songs in twenty-eight minutes and still sound like they're strictly from plods-ville is beyond me (they musta grown up listening to the Stitches, another band where you'd listen to 'em for like twenty minutes and swear you'd been chained to one spot for three hours). I mean, i'm sure this is supposed to sound like some kind of music i really like, but i really can't put my finger on what kind of music that could possibly be. The beginning of the second side is pretty awright, though. HELPFUL HINT FROM YOUR UNCLE NØRB: Don't bug mom to peg your pantslegs for you until you get the lead out of your asses. BEST/WORST/MOST CREATIVE SONG TITLE: "Rock and Roll" BEST SONG: "Hijack My Heart" or "Razorblade Kiss" FANTASTIC AMAZING TRIVIA FACT: I think "Rock and Roll" is about MRR. I find the line "you don't play rock and roll" rather ironic, considering those singing it aren't exactly wiping Little Richard from Earth's collective memory.
–norb (Dirtnap)


DISGUST:
The Horror of It All...: CD
Here is a band I haven’t heard of in a long time. Their first release and only release that I have is Brutality of War CD that I think came out in 1993. It was and still is a great release! Forward in time, my brother hands me a copy to trade me. If you have met my brother (Katz) before, he is like the punk encyclopedia. I get the 411 from my brother about what’s been going on with the band. He gives me the titles of all their release, format, label and order of releases. Well, the band has gone through some line-up changes too. The only remaining member is the bass player from the original release that I own, but the formula is the same. If you notice the “dis” prefix, you know nine times out of ten that it’s going to be Discharge (the band) influenced. These guys are one of the elite performers of this genre. This disc shows that they continue the legacy. From the opening instrumental title track and all the way through, you are body slammed to the floor from the blaring energy of the music: three bottom-heavy chords of crusty, metal rage. Lyrics of war and injustices that take place on this planet keep the theme in a haiku-like style. If heavy is what you are looking for, buy and spin.
–don (Crimes Against Humanity)


DISCONTENT:
Self-titled: CD and LP
I'm a bit slower than the people around me. I played this LP a bunch and something was very different. My expectations were extremely high. Their Who Killed Vinyl? 7" on Hostage, I still believe, is quite possibly one of the unsung gems of oi in the past five years and their Shot Down CDEP was a teaser of a follow-up. They were posed to claim the kingdom of angry, fisticuff, non-cheesy street rock, neck-and-neck with Bonecrusher. Full of tough, hard stuff they didn't skimp on the hooky melodies. Then it struck me. Discontent found rock, evidenced by the fancier guitar parts, the slower, more filled-in drumming, and the vocals getting less gruff. This, in and of itself, isn't a bad thing. I like rock, but instead of continuing down a path where Discontent could have been undisputed heavyweight kings – there really were few contenders – they've gone into an arena with literally thousands of bands already mastering the same type of music. From the New Bomb Turks to Turbonegro to Zeke to the Candy Snatchers, the bar has been set so high by some already badass bands that have been playing so long. This LP is all competently played and does have some right-on songs, but if I had no prior experience with listening to the band, I'd probably like this a bit more. I was just expecting something different, like spitting my teeth out from getting hit in the mouth instead of a possible opener for Motorhead (who I like.). –Todd (Disaster)
–todd (Disaster)


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Razorcake Podcast Player


·Razorcake Podcast #141
·SUNDAY MUNICH
·RUM DIARY, THE
·SIDE PROJECT, THE
·STOPS, THE
·MILE ME DEAF
·GLASSES
·DURBAN POISON
·PETER COUCH BY: JULIAN THURST


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