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Below are some recently posted reviews.

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Self-titled: 7" EP
Although i kind of miss the New Bomb Turks, my missing of their records is a bit less acute; were, however, i to find myself in some manner of anguished state whereby my only recourse for preserving my mental well-being was to ingest some form of useful placebo, Side A of this record would likely stave off any manner of withdrawal seizure i'd be likely to contract, and is slightly more soulful than the NBT in parts, but not to the annoying extent of requiring me to testify or similar foolishness. Side B starts with the much more Zeke-y "What's the Point" – i.e., stoner speed rock (might be amusing to find out some day it's actually a Zeke parody) – and concludes with "Oleo," which is like vaguely competent R&B speedmetal or something, like someone who owns more than one Metallica record trying to adapt James Brown riffs for their own sinister purposes. The one truly transcendent moment here is the guitar solo in "Suck Mule," where the backing tracks simply bang back and forth from high E to A (yes, i was actually motivated enough to figure out the chords) whilst the geetar man gets his wild freak on, evoking such gems of olde as the Dickies treatment of the guitar solo section in Led Zeppelin's "Communication Breakdown" and the solo in DOA's "Smash the State" (minus the timely "OH SHIIIIIITTTTTT!"). Promising, i guess. BEST SONG: "Suck Mule" BEST SONG TITLE: "Suck Mule" FANTASTIC AMAZING TRIVIA FACT: Odd that i would mention the Dickies "Communication Breakdown" in the same breath as DOA's "Smash the State," as DOA cover "Communication Breakdown" on the same album with "Smash the State" on it. –norb (Get Some!)

Dead Flowers, Bottles, Bluegrass and Bones: CD
In the last five years, I sure have listened to a lot of punk. It tends to make a person jaded by hearing so much music. Things that I buy for myself might sit for a month before I actually listen to it. Not that it’s bad, but sometimes it takes a lot more oomph to get me excited. So when I hear something progressive, it catches my attention. The Swingin’ Utters have progressed from album to album to continue to catch my attention. Their progression from an average street punk band to now is night and day. They still take the old school sound and add elements of piano, violin and other instruments to give their songs more flavor. Also, the three vocalist attack makes for a more layered appeal. The mix of songs on this release makes this an enjoyable listen from start to finish. The songs vary in style and tempo from each other. Many bands releases sound like one big song. That is not the problem here. One thing I can’t get out of my head is that this band sounds like Social Distortion to me when Johnny sings. –don (Fat)

From Here… to Nowhere: CD
This is supposed to blow – older looking American (or living in America) guys going back to UK punk roots. It’s an activity that’s been whipped more than a mistreating slave. But, for some inexplicable reason, this CD isn’t only catchy solely an old familiar way. (Like, “Ooh, nice Partisans riff” or “so that’s what the Toy Dolls would sound like when they’re pissed” or “Man, the best of Cock Sparrer, that’s some great shit.”) The Subversives have actually introduced new wrinkles to a genre that I thought had been dry cleaned, hung up on a rack, and sold back as new to bondage pants-wearing teens at the mall. So, if you’re at the store and your hand’s burning from touching Total Cash Register, and you want something that’s heavy, catchy, and you don’t feel like they’re singing solely to sell records to thirteen year olds with tall hair – and you like U.S. Bombs’ War Birth or Dropkick Murphys Do or Die – this ain’t a bad soundtrack to spend an evening playing darts or bowling to. Thumbs up. –todd (Charged)

Bernadette b/w Born to Run: 7"
Crunchy, satisfying, sweaty rock’n’roll. Sure, there are similarities with The Stallions, who Rick sung for also – like, they’re both excellent and they both seem to have the spark and charge that comes from excitement and not calculation. I can’t seem to put my finger on it. The rock machine’s been made for such a long time – having been perfected in different forms by the Dictators, the Gories, and the Mummies – and so many bands have drag stripped down many a well-traveled road. It’s nothing new, but The Stupor Stars sure as hell don’t disappoint. They make muscle car rock that truly rips ass and makes it glaringly obvious – to me, at least – when a bunch of well-financed hipsters jump in a grocery cart with a squeaky wheel who start playing the equivalent of oldies radio on a weak signal try to lie to the audience by saying “We are rock.” The B-side is a ripping version of Bruce Springstein’s “Born to Run.” Great 7”. –todd (Honeyhole)

Bernadette: EP
This is snotty, snotty, snotty punk rock’n’roll with a power pop twist. There is a real sense of urgency that translates well with a band like The Stupor Stars, one of the most overlooked bands ever. In the far future, after all is said and done, there will be some members dead and a group of geriatric punks who claim to be the real “Rick Hall or May Lou or King Roberto or Lowell or Alan” like all those fools who tried to say they were Buckwheat – nigga please. I was paid well in advanced by the band to tell you that this EP is good. Regardless of that bounced check, I still think this record rules. The B-Side is “Born to Run” by Bruce Springsteen – don’t panic – it sounds nothing like the original. I asked Rick Hall, the singer “What’s the deal with the Springsteen cover?” He answered, “The band decided to do it.” I quipped back, “Oh so the ENTIRE band has bad taste?!” You know, I’m not down with The Boss because The Boss never existed. All I can remember is reading that Andy G admitted to liking Bruce Springsteen. Man, I thought that was pretty bold. I’m not bold – I just hate everything, except for this Stupor Stars EP. Satan bless the Stupor Stars. –nam (Honeyhole)

You Sing! Me Play!: CD
I liked this CD the minute I saw the cover art and the name of the band. I like food names (Razorcake, Strawberry Mud Pie, Punch and Pie, and, uh, more that I can’t think of right now). And I love female-fronted Japanese punk bands. (Pear of the West and Thug Murder are high on my list, which needs lengthening. If you are in a rockin’ female-fronted Japanese punk band, send me stuff to review, care of Razorcake!) You Sing! Me Play! didn’t disappoint me, either. Strawberry Mud Pie’s songs are very catchy, with a happy, rock’n’roll feel without being too poppy. Within the first song, you are already singing along: “Woohoo, she used to run away.” (At least, I think those are the words. Sometimes it’s hard to get past the singer’s Japanese accent, but that’s okay. It’s fun making up words, too.) You can tell the band is influenced by fifties rock’n’roll, and in the case of You Sing! Me Play!, that’s a good thing. I want more of this kind of stuff! –felizon (1+2 Records)

Twelve Imaginary Inches: CD
What is there to say about the Stitches that hasn't been said before? You know the score here: snotty vocals, great mid-tempo punk rock, lots of creepers, and lots of intoxicants. Catchier than a venereal disease in Baltimore. I can't tell you which song is my favorite because the only place where the song titles are written is on the CD itself, but they are all good. There are a bunch of little keyboard parts on this. These guys must think they're Hawkwind or something. –Josh (TKO)

Bandology Vol. 1: CD
If you don’t recognize the name, you don’t skate. Long time pro skateboarder has played in some bands through the years. Featured here are four tracks each by The Faction, Odd Man Out, Shovelhead and Soda. The Faction, probably the most popular band he played with, have been part of the skate rock scene during the early-to-mid ‘80s. Odd Man Out, the next band he played in, were more progressive rock. Shovelhead play grunge that was prevalent during the time period. Soda play a Tilt-ish, female-led pop punk that makes me think that I might actually keep this disc. Also provided are two extra tracks that Mr. Caballero has recorded as projects. I don’t know if people will run out of the house in a manic frenzy to purchase this, but the Soda tracks are pretty damn good and are the highlight for me. –don (Sessions)

Get Well Soon: CD
The Starvations have been able to cinch the dark heart of so many styles of music, to squeeze it, have it languidly bleed down their arms and meander deep under their skin. Stains, that with no amount of scrubbing, will never come out. Equal parts sickness, celebration, and the macabre. The Starvations, immediately upon listening, have so much figured out: chemistry, alchemy, fermentation. The playing is too assured, too other-worldly realized. Possessed. There’s a vision that doesn’t have to stoop to the past in a constant bow of reverence, but to scoop it up by the ladle and have it violently sizzle over the glassy shards of the present. Yes, it’s punk, but, thankfully, in the widest dilation. Touchstones are merely that – starting points: early Gun Club, The Blasters, fiery Nick Cave and I also hear distant echoes of Bauhaus. Not in sound, but in intent, they’re also akin to what Throw Rag’s all about. Then it’s all boiled and shantied up with occasional piano, accordion, harmonica, and congas in a way that makes it seem more stripped down and closer to what I’ve always thought true roots music should sound like. True gothic, (in the original definition of the word) before it was attached to a genre of music – highlighting decay amongst the decadence. –todd (GSL)

Horrified Eyes: 7"
Whoa. Run-of-the-mill rockabilly this ain't. The A-side is musically upbeat and the B-side is more bluesy, but both songs have a swampy Birthday Party kind of feeling to them and a really unique singer. Maybe the most original thing I've heard in a while; the only way I can describe this is fucked-up-in-a-good-way, but I've been listening to it a lot and I'm glad I own it. –Josh (GSL)

Whose War Is It? : CD
Serious hardcore from a band that sounds like they could’ve been the house band at Fenders Ballroom circa 1986. Didn’t expect much, but I’m glad to say that they’re all that and a bowl of rare Final Conflict records. –jimmy (Go Kart)

In Control: CD
Let me start by saying that most of the stuff I review for this magazine is sent to me by Sean and Todd. Every now and then I get something in my own mail from some press agent or someone who got my address from the magazine, and that is usually accompanied by an 8x10 glossy of some boring people trying to look cool, press clippings, and some over the top copywriting like about how well the band went over at Warped Tour and their potential and all that. Generally, the more of this stuff there is, the more the band sucks, and sometimes the more promo stuff I get means the less I ever hear about the band again. Then I will get a really good CD with one Xeroxed sheet explaining why I got it in the mail and it blows me away. (The one that trumped that had a post-it saying, “please review.”) My other comment is that if you send me a CD to review, send me the CD to review – the whole thing. Send me the CD, the artwork, the liner notes, and something that they all go in so I can keep them together. If you want me to endorse your product, let me know what the whole product is. This CD came to me with liner notes in a nice plastic thing that was more easily mailed than a jewel case. There was one sheet explaining that this is a re-released CD of a reformed band. The booklet had fliers that were not self-indulgent but framed the where and when of Stalag 13. The CD has really good music on it. Imagine, if you will, Minor Threat, Circle Jerks and MDC all forming a super group and having a really good producer oversee the album (though there are live tracks). Fuck yeah. –rich (Doctor Strange)

In Control: CD
Bill from Dr. Strange comes through again and brings back another classic from the dead. Originally released on Upstart Records (Jorge Newberry, where are you?) in 1984 and bootlegged numerous amounts of times by Lost and Found out of Germany, this Nardcore classic is available to the masses again. This record was on regular rotation on so many punks’ stereos back then that I barely ever played my own copy. I actually burned out hearing them and never played my record ever again. I bought the three limited edition copies of this on vinyl recently and never played them. What a collector nerd I am sometimes! While at Razorcake HQ, I saw that this was in my box. I slap the disc into the CD player and see if I will like it after all these years. Like the hypocrite that I am, I fuckin’ love this! The songs are familiar as ever but welcomed. Hearing the song “No Excuse” again was a reenactment of getting a boot to the head. The booklet has pictures of the band at the long-defunct Cathey de Grande here in Los Angeles which brought back good memories of seeing them there on a regular basis. There are also pictures of flyers that are still on the bedroom wall at my mother’s house that I haven’t taken down even though I haven’t lived there in over fifteen years. Hearing the four bonus tracks was a welcome surprise. Three songs were recorded in the studio and the track “Selfish” was on the We Got Power comp. The last track, “Make a Change,” is recorded live. I had put them below Nardcore greats like Dr. Know, Agression, RKL, Ill Repute, and False Confessions, but I do step up on the dummy box to admit that I was wrong. I sometimes wonder why I think the way I do. They were equals in a scene that created many great bands. –don (Dr. Strange)

Micro-Manipulators: CDEP
There’s something in the recording of the CD that makes it sound like it was recorded in a tin tunnel where someone is constantly felling Christmas trees full of ornaments. It’s this weird, delayed metallic whispery sound that has me thinking that something got over processed on the computer (but that’s just a guess). They sorta sound like Black Flag smoked a lot of pot and it really got to them (okay, post Slip It In Black Flag, same thing), but not nearly as interesting, certainly less punchy, and more arty repetitive. Too jammy. Sorry. No thanks. –todd (spreadego@yahoo.com)

Disposable Income: CD
Oh boy! Pure pop bliss! This is the follow-up to the Blue Gravy: Phase 9 CDEP that was, in my opinion, above average. They come back with a bang and show their superiority to the world. The songs are as infectious as ever and continue to put my face into contortions, forcing a happy face. The production has been the key for many years. The guitars are thick and add little shards of metal chugging while not being too aggressive. A band with a Hammond organ is all right with me, too! Duncan is still behind the kit, banging away like a spastic monkey while keeping it together to sing the vocals. I like the fact they do experiment and try to add new elements to the music to keep things fresh. They brought in more players this time around to fill the sound to new expanses. It might be blasphemous to say, but I think they are the Beatles of punk rock – music that immediately takes you to another world without leaving the outside area of your speakers with melodies that I would die for to write. If you haven’t taken the giant step and sampled these musical masters, what are you waiting for? While you’re at it, you need to check out Guns n’ Wankers and Dogpiss, which are side projects of Snuff from the past. Why did they leave Fat? –don (Union)

Deep Cuts, Fast Remedies: CD
Yo! Punk rock MTV style. –don (Victory)

Sodomy & Failure CD: CD
Like a John Holmes spoot shootin’ all over the room, this band of bent and bawdy buttholes makes a mightily magnificent mess kicking the corn-crusted crap out of the Gun Club and the Immortal Lee County Killers with delirious disregard for regular rules of fidelity and finesse and fancypants fashion. Nine noxious nuggets of blues-punk bombast blast, bug-eyed, through turgid trash-heaps and straight-up sonic sadism, leaving lacerated lollygaggers and weeping windbags in the wake of the aggravated aural assault. Also, Pete’s from the Chicken Hawks. –Cuss Baxter (Welfare)

We Sing The Body Electric: CD
Metal, but metal of that new fancy kind where they use slick, spare, modern artsy graphics, have a lot of different parts to the songs, appear to be making some manner of aesthetic overture to pseudointellectuals and occasionally wear hammer and sickle t-shirts. I kinda wanted to read thru the lyrics just to see if they used the word "sophistry," but i never got around to it. WORST SONG: Whatever one's longest, i guess. WORST SONG TITLE: "Parole En Liberta." FANTASTIC AMAZING TRIVIA FACT: Back cover contains claim that "Helvetica Is The Typeface Of Bourgeois Consumption," which was a pretty rad typographical thought, say, IN ABOUT 1985 or something. In contrast, the font the band uses for the lyrics – Monotype Ehrhardt maybe? – looks like the kinda thing one typesets theater programs in, or maybe those sissy menus they have on the chairs in the good seats at Chicago Bulls games. –norb (Revelation)

Recipe for Disaster: CD
Self-proclaimed “English Punk Rock,” meaning it sounds like yer average American “street punk” with an accent. –jimmy (JSNTGM)

Self-titled: CDR
Here’s seventeen raw tracks from those New York hooligans, The Shemps, who introduce rock’n’roll into their unabashed punk rock with glorious results. It’s catchy, toe-tapping fun that brings to mind the renaissance of the garage years, pre-mock blues and major label interest, when bands like The Devil Dogs, The Candy Snatchers (god bless the bleeders), etc. brought the clubhouse walls down, back when nobody really cared for this type of music. So, The Shemps went through a major lineup overhaul since we last heard from them several years ago when they invaded Japan two years ago. Dave the Spazz (of WFMU fame) left his post as lead singer under mysterious circumstances. Taking over the helm is Artie – the loveable, diminutive yet energy laden new vocalist that howls and hoots like Screamin’ Jay Hawkins in the punk rock era. Artie brings a fresh shot of urgency and Bill Florio, their long time be-boppin’ bassist and MRR contributor told me Artie crashed his car into the side of a club where The Shemps were playing one night – they’ve been inseperable since. Ah, I love a good love story. Rounding out the line up is Sue (who has left since this writing) on rhythm guitar, Jimmy The Love Machine on those solid drums and our good friend Squeaky (ex-Flipside, Fizz contributor/ Voluptous Horror of Karen Black go-go dancer/ Larry Clarke model/ ex-Stallions guitarist and all around good guy) who takes a violin bow to his guitar like a headhunter goin’ to work on the other tribe. Eat your heart out The Creation! The best thing about The Shemps is that their longest song clocks in at an epic 2:18. I love a band that doesn’t waste my time with Beatles chord progressions and all that unnecessary studio time wanking! The Shemps came down here back in December where they played a series of shows with The Stupor Stars, which brought us the long awaited reunion of old friends, Mr. Rick Hall and Squeaky (they were both in the Stallions.) The shows were fun filled with breakdancing, dildoing mics, Squeaky doin’ the splits, and a couple of unnamed girls doin’ their best “Don’t Talk to Me” GG Allin karaoke. Artie topped it off by telling me he once macked on a chick with one arm. Those zany Shemps! –nam (The Shemps)

I think it’s supposed to be a punk band – there’s a song called “Punk Son” (which goes, “Father, love your punk son”. Maybe it’s not supposed to be punk) and the guy’s all bloody on the back cover, but dude, this things got all the power of a chopped-in-half AAA battery, and the abundance of keyboards and girlman vocals doesn’t help, either. A couple songs are about vampire dating and graveyard lawn jobs, so let’s call it lame gothpunk for turkeys. –Cuss Baxter (Disaster)

Pierce My Brain: CD
Punk rock, ‘77-style, from a band that was actually around at that time, so there’s no doubt they know what they’re doin’. This is newly recorded material from this veteran band and, while the lyrics are kinda iffy in places, the music is dead-on solid rock’n’roll with just the right amount of sneer to separate ’em from the Stooge-poseurs saturating the subgenre. –jimmy (Smog Veil)

It: CD
With their picture perfect looks, safe yet loud rock’n’roll and innocuous lyrics, these guys should rake in mounds of dough, which is what punk rock is all about anyway, innit? –jimmy (www.fastlanerecords.com)

Self-titled: CD
Rock did NOT kill the kid – what killed the kid was a whopping overdose of syrupy-sweet, cry-baby, cuddle punk like this sickening heap of butt marshmallows. Ugh. The band that does the theme song for Friends is more threatening, and for that matter, one hell of a lot more interesting. I can just feel new cavities chewing through my teeth as this drippy little disc continues pumping its candy coated crap into my room. Time to go brush my teeth six or seven times and make it all go away. Thank god for "stop" buttons. –aphid (Fearless)

Revolutions Per Minute: CD
As I get older, the facts in my brain are more and more disorganized with all the new music I am introduced to each month. I’m not complaining, by any stretch. Pulling facts out of my peanut-sized brain becomes a marathon event. I was first introduced to this band by hearing their track on the Live Fat, Die Young: Fat Music Volume 5 comp. I was totally blown away by the song “Join the Ranks.” Their full length debut, The Unraveling, came out but I missed out because of the transition from one magazine to this one. I had it on my list to buy, but never got around to buying it myself. I forgot about the band and received Uncontrollable Fatulence: Fat Music Volume 6. Their track, “Generation Lost,” reminded me that I had put them back on the list of music I needed to pick up. Time passed once again and I never got around to purchasing said item. Low and behold, their second full length was sitting in my box at the almighty Razorcake empire. Knowing that I was going to enjoy this, I pop this puppy into the CD player and get a familiar sound of power mixed with melody. The songs are aggressive but not overtly abrasive. Their lyrics are well written, personal, and political. Production-wise, you know what you are getting from Fat. Fans not familiar with this band but are familiar with bands like Anti-Flag or Good Riddance will appreciate the sonic energy this band produces. Hearing them again is like a swift kick in the butt to go out and buy their previous release and maybe go see them live. Let’s see... –don (FAT)

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