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Below are some recently posted reviews.

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CHOLERIC:
Weed Out the Weak: CD
Another grouchy, tough-guy metal band to provide a soundtrack for all the grouchy, tough-guy metal dudes trying to come to terms with all them pesky latent homoerotic feelings that keep popping up when they’re pushing, shoving and thrusting each other in the “mosh pit.” Mark my word: ten years from now, this’ll be a classic with the leather-boy set. –jimmy (www.cholericmusic.com)


CHO EXPERIMENT:
Self-titled: CD
Oh, this is terrible. I don’t even know what it is. Kind of thrash meets jam rock meets my trash can. Ick! –megan (Nightraidermortarsquad)


CAT POWER:
You Are Free: CD
You Are Free, Cat Power's first album of new material in almost four years, shimmers with beautiful and fragile lyrics that dance over sparse instrumentation and simple, but-in-a-good-way, hooks. Tiny moments of strength and confidence are tackled by feelings of confusion and heartbreak. This is Chan Marshall; full of struggle, dazzling purity and seething bitterness. And for all of the mixed emotions her music stirs inside, it at least does that – it feels. It feels all inner conflict that we experience, but are too afraid to confront. On "Good Woman," her voice trembles, "I don't want to be a bad woman, and I can't stand to see you be a bad man." Creating music, even in it's most stripped-down form, she still has the power to make you ache. But You Are Free is more than just blue; it's spilling over with warm and fuzzy songs – practically stretching its arms around "Moon Pix" and giving it a great, big hug. The simplicity of "Free," soft rocking of "Speak for Me," and the "hey, hey, heys!" of "He War," conjure up the word, dare I say, pop. Not in a Blondie kinda way. Think more fucked-up. Like the devastating pop of The Velvet Underground. But I wouldn't kick back and enjoy the sunshine just yet. Just when you think you are free, Chan Marshall has a way of creeping back to haunt your head. –kat (Matador)


BUZZCOCKS:
Self-titled: CD
I’m confused. For twenty-five years, thousands of punk kids have tried to sing like the Buzzcocks’ Pete Shelley, and now Pete Shelley sings like Carol fucking Channing. It makes no sense. Listening to this new Buzzcocks album is akin to being in a public toilet stall and realizing that the guy in the stall next to you is both shitting and talking on his cell phone – in both cases, it’s not exactly the end of civilization as we know it, but it’s definitely the sign of a culture on the decline. So I conducted an experiment. I really did this. I made my wife sit down in front of my stereo. I played the Buzzcocks’ amazing song, “Fast Cars.” Then, I said, “Out of the next two songs I play, pick which one is the new Buzzcocks.” First, I played the first song off of this new Buzzcocks album. My wife said, “That’s not the Buzzcocks, and make it stop.” Then, I played “Live Alone” by the FM Knives. My wife said, “That’s gotta be the new Buzzcocks. It’s awesome.” We listened to the rest of that FM Knives album. Just to make sure it wasn’t a fluke, I tried this test with Razorcake reviewer Toby Tober. The results were so similar it was scary. So the results are in: if you want to hear a new Buzzcocks album, buy the FM Knives (who, incidentally, are from Sacramento and have nothing to do with the Buzzcocks). But, for sake of all that was once holy about the Buzzcocks, don’t spend your money on this one. –sean (Merge)


BUZZCOCKS:
Self-titled: CD
I am not ashamed to say that I have flat-out adored this band for going on two decades now. I am not ashamed to admit that I thought their last two albums were, to put it as politely as possible, wicked fuckin’ boring. I am also not ashamed to report that, if this album is any indication, they are well on the way to rectifying any missteps taken on the aforementioned last two albums. The songs here, while are still just shy the lofty heights of greatness they achieved from the Spiral Scratch through Trade Test Transmissions releases, are well constructed and catchy as hell. They’ve gone back to writing good pop-infused punk tunes, which is a welcome relief, and Diggle’s developed enough as a singer/songwriter to keep up with Shelley song-for-song. They were also nice enough to include a re-recording of “Lester Sands,” which originally appeared on one of their earliest bootlegs as “Drop In the Ocean.” Considering I physically winced as I put this on, terrified that one of my favorite bands was going to disappoint yet again, I am not ashamed to say that I really like the noise that’s coming from my speakers and that said noise is growing on me with each listen. –jimmy (Merge)


BURN YOUR BRIDGES:
Self-titled: CD
Undoubtedly angry – mostly at crusties, scenesters, play-acting anarchists, the “punk-famous” and quite possibly anyone automatically inclined to go to their shows – it’s grating, and speedy hardcore that isn’t afraid of neither the occasional blast beat nor melody. Am I hearing this right? There’s only a guitar and drummer? Bob (Lack of Interest is my guess) and Chris Dodge (ex-Spazz)? There’s an amazing bit of noise on here – and a nice diversity of modes from full-on thrash to more moody songs (all clocking in under a minute, I believe). At the same time, I occasionally found myself wanting more dimensionality, imagining how a bass, another guitar, or using more dual vocals would fatten and beef up the overall atmosphere. (I can’t help but think of Charles Bronson – both bands have slaying wit, similar approaches, and were/are in it for the right reasons, but CB played like a mad nest of hornets. Maybe I just want more hornets with Burn Your Bridges.) Minimalist hardcore thrash? Who would have thought? That all said, I’m keeping this CD. It’s scads better than most of what I’ve been hearing lately, particularly in hardcore. –todd (Deep Six)


BUMP-N-UGLIES:
All-American 4-Pack: 7" EP
Traditional punk scene heathens/malcontents, who cover the four basic food groups: pornography ("Hardcore Pride" – an h/c parody yielding the almost-immortal line "The only shows I see are preceded by a 'peep'"), pro wrestling ("i think it's funny / you're goin' to Jack Tunney"), the inherent lameness of more successful scene peers ("The Roast [12 Reasons]") and a GG Allin cover ("Don't Talk to Me" – which brings to light the fact that, in the span of the now four issues i've written for Razorcake, i have been assigned to review an at-least-somewhat wrestling-oriented band's record twice, and on both occasions, said record has featured a cover of "Don't Talk to Me," which, for the uninitiated, is not a wrestling-related song. I mean... am i missing something, or did i just beam into a reworking of the "A Piece of the Action" episode of Star Trek where Oxmyx, et al, fell into possession of the first GG Allin album and an old copy of Pro Wrestling Illustrated in lieu of that book about mobsters of the ‘20s, or what?). In their more inspired moments ("It Ain't Cheatin' [If the Ref Ain't Lookin']"), they kinda evoke classic Elvis Hitler minus the rockabilly flirtations; everywhere else, they kinda send the vibe that the songs are structured to run longer than the concept behind them is able to successfully support. Dude, it's all about the flying buttress! Er, wasn't that Iceman King Parsons' finishing move? BEST SONG: "Don't Talk to Me," duh. BEST SONG TITLE: "It Ain't Cheatin' (If The Ref Ain't Lookin')" FANTASTIC AMAZING TRIVIA FACT: Label design on this small-holed (and gray vinyled) record helpfully indicates where large hole and large hole bleed would be, were, in fact, this record in possession of a large hole. –norb (Low Down)


BROKEN BOTTLES:
Bloody Mary: 7"
It’s striking, the difference between bands that half-assedly rip off the past and those that can pull things out of it – and make it better – without sounding like they’re living in a TV re-run time warp of the punk episode of “CHiPs.” Deep in the radiated stucco dysfunction of southern OrangeCounty, comes one of the best new bands I’ve heard since Smogtown hit our shores. This single’s about cemetery sex and heroin. While you’re at it, pick up their first 7”, Radioactive San Onofre. –todd (Revenge)


BRIEFS, THE:
Off the Charts: LP
So it looks like the major label route was not the way for these guys to go and they are back on Dirtnap where they belong. The Briefs probably wouldn't have gone over too well with all the nu-punk jocks and the nu-garage assholes. This is the music that people get beat up for listening to and that isn't something that sells too many records. Anyway, this pretty much picks up where the last one left off: fun, poppy, goofy punk rock that tips the hat to the Kinks just as much as it does to the Buzzcocks. You should buy this, and while you're at it, buy the first Kinks album, too. –Josh (Dirtnap)


BOTTLES AND SKULLS:
Born in a Black Light: CD
Loved their Amped the Fuck Up 7”, but wasn’t too jazzed by the bonus tracks tacked onto the CD release of said 7”. This is more like it. No happy chord progressions or boy band posturing here, kids, just dark, loud, fucked up, rockin’ tuneage in abundance. Then again, you can’t possibly expect less from a band with the creative foresight to name a song “Pimento Llama.” –jimmy (Sickroom)


BORN BAVARIAN:
Psycho Commander + Still High: 7"
Counterintuitively, i have found thru the years that it is actually very rarely a good thing when you can't figure out what speed the record is really supposed to be played on (the exceptions that prove the rule seeming to be the Kohu-63 12" [i guess you play it at 33], "Raw Sewage" off the Peace Corpse 12" 33 which my old roommate would always play at 45, and "Surfin' with the Shah" off the first Urinals EP, which once caused the autistic kid i babysit for to roll his eyes back into his head and start violently headbanging when i played it, for whatever reason, at 33 rpm); after some internal debate, i have decided this one-sided record plays at 33 rpm. Song one is plodding troglodyte beller-rock, distinguished primarily by its moderately unforeseen bass-in-lieu-of-guitar-solo; the second song is more melodic, and sounds not unlike a less-slick Professionals or a more-slick Cockney Rejects, but with a long haired, brawny Kraut in a denim jacket screaming himself hoarse on vocals. In a related story, there's a horse on the front cover. BEST SONG: "Still High," i guess. BEST SONG TITLE: Both suck. FANTASTIC AMAZING TRIVIA FACT: If you're ever in Germany, don't order Weiss beer anywhere but Bavaria, because the rest of Germany apparently views the Weiss-brewing Bavarians as a bunch of retards and will give you a bunch of shit for it, or so my observations have been. –norb (Casual)


BOILS, THE:
Pride and Persecution: CD
Just when I’m fed up with the waves of third-rate teenage mohawk rock ripping the ass off of Blitz and Cock Sparrer (when they think they’re copping Rancid), while inadvertently making a prison camp for street punk, comes another band onto my radar screen that’s got it all right. The Boils have anger you can feel and musicianship that’s unmistakable – catchy, and as sharp as getting tangled up in spools of barbed wire. What’s refreshing is that The Boils actually sound like they’re truly pissed, that they’ve got deep record collections, are concerned with amping their songs the fuck out, and their hands have actually seen calluses (and not from stroking their own egos). Pride and Persecution’s also impressive by the fact that it changes modes effortlessly without pussing – from the early Agnostic Front hardcore thud, to The Bodies’ velocity, all the way to the abrasive poppiness of Sweden’s Asta Kask. If you aren’t singing along to “as long as there’s kids dumber than dirt” from “New Majority,” perhaps you should be knitting a sweater instead, renewing your subscription to Young Miss (for the articles, you perv) and working on your 401k. Philadelphia’s anger is sounding mighty and good these days. As they say, “Here’s to the bittersweet taste of anger in our blood.” Here’s to something 100% recommended. –todd (TKO)


BLACK EYES:
Self-titled: CD
Noisy, art-damaged skronk that is easily the most aggro new release I’ve heard on Dischord in a while. The songs get a tad long-winded now and again, but damn if this ain’t some nice work overall. Thumbs up. –jimmy (Dischord)


BIGFOOT IN PARIS:
Such A Taste: CD
Assity-ass-ass. Whiny lyrics over jazzy-rock. Wham + Erasure = Suck. –megan (www.bigfootin paris.com)


BELLRAYS:
Raw Collection: CD
Good lord, sweet Jesus, and HOT DAMN. That’s consistently been my reaction every time I hear something from these guys, and this ain’t no different. A collection here of selected tracks from 7” and 8” records and assorted comps, which also serves as a roadmap of the band’s evolution from soul-infused punk group to the fuggin’ sound monster that it is today. To call this amazing would be an understatement. Think of it more as a communion wafer given to devotees to the church of rock’n’roll. Crank “Say What You Mean” and be converted. –jimmy (Upper Cut)


BEAUTYS, THE:
The First Seven Inches Are Always the Hardest: CD
It’s no secret that I’m a big fan of The Beautys, so I was stoked to see this CD in the Razorcake PO box. To be honest, I was hoping they’d recorded new songs, but they hadn’t. It doesn’t matter. I’m happy with a collection of their seven inches. This collection gives some good insight into them as a band, because, even though the songs aren’t arranged chronologically, it’s easy to tell which songs came from the early days when they were still trying to find their sound and which songs come from their later recordings when they had their sound down. But they’ve packed a lot of stuff into this collection: everything from their first seven inch, Girl from Planet Fuck, to their amazing A#1 Sex Shop Employee seven inch (which has The Beautys’ best ever song, “Coverband”), to unreleased demos from ’95 and ’98, to songs that only made it on to obscure comps, to a handful of bonus live tracks. I actually have most of the seven inches in this collection, but the problem with the records themselves is that they’re over so quickly that I’m always left wanting more. With The First Seven Inches, The Beautys give me more. They put it all on one nice CD with extra stuff that I’ve never heard and they save me from having to get off my ass and flip the vinyl every two songs. –sean (Diaphragm)


BEAUTIFUL MISTAKE, THE:
Light a Match, For I Deserve to Burn: CD
If you like Grade, Thursday, Waterdown, Finch or any other melodic screamo metal-core band that tries to croon every so often but also yearns to deflect any emo labeling by periodically making attempts – no matter how awkward, contrived or affected those attempts may be – to rock the fuck out, you will likely enjoy this. I’m sure that somewhere, some girl or guy is listening to this and crying because they love that girl or guy or goat so much, but I’ve heard this before and it sounded better last time. If you really need to understand what this sounds like (and I’d hope that my suffering absolved you of any such imagined or real responsibility on that account), imagine New Found Glory signing to Victory and changing their sound just enough to fit in but not so much that they gave up sniveling. –scott (The Militia Group)


BACKWOOD CREATURES:
Living Legends: CD
Piss-poor pop punk from the Netherlands or thereabouts. They claim on the back that this is “up there with first records of the Undertones, Buzzcocks and Stiff Little Fingers,” which is a mighty bold statement considering I wouldn’t even rank this up with the last Queers album. –jimmy (Stardumb)


ASTRID OTO:
Self-titled: CD
Astrid Oto remind me a lot of Cleveland Bound Death Sentence. They have the same kind of up-beat punk songs with the same kind of sometimes political, sometimes nostalgic-for-yesterday lyrics, and they even have the same kind of crazy-kid-in-a-Kinkos layout to the CD packaging. All of this makes sense because both bands have the same drummer/lyricist/layout guy, Aaron Cometbus. Astrid Oto even has a similar style of alternating male and female vocals to Cleveland Bound Death Sentence. This makes it impossible for me to listen to this Astrid Oto album without comparing it to CBDS. This is a shame, because if I’d never heard CBDS, I’d love this album. It’s fast and catchy without being poppy, and the vocals have a nice balance of anger, snottiness, and flat-out rocking. But I can’t help comparing it to CBDS and thinking that this would be a lot cooler if Emily and Paddy were singing. This is probably my problem and not Astrid Oto’s. And, since CBDS isn’t likely to put out anything else, Astrid Oto does make a great second choice. –sean (No Idea)


ASTA KASK:
Rock Mot Svinen: LP
On one of my most recent monthly pilgrimages to Headline Records in Hollywood, I noticed this record right away, perched on the wall in full display as a new arrival. I grabbed it to see what it was. I knew that this Swedish band had been broken up since the mid-‘80s. With a quick flip of the wrist, I looked at the back side of the album jacket to see that it is a compilation of tracks from all six of their studio releases. Yippee! I think my brother has all the releases but I personally haven’t heard all their music. I do own a copy of the mini LP Med Is I Magen, which is a punk rock classic and a lucky find on my part. Also, I have them contributing tracks on the Really Fast Vol. 1, 2 & 3 2xCD comp that Burrito Records/Sound Idea re-released a few years ago and on the Varning! For Punk 3xCD comp which came out quite awhile ago. From the liner notes provided on this release, they were a very popular band in Sweden during the early ‘80s. They even received radio airplay. They have similarities to Die Toten Hosen out of Germany – popular in their homeland, but obscure here in the states. It’s such a treat to my ears hearing more of this band. The music is melodic and poppy but stays unique due to their not being heavily swayed by too many outside influences like bands today. The music is not one bit wimpy, by any means. For the time period, the music is played at a hyper pace without going out of control and losing the melody. The lyrics are sung in Swedish and inject almost a party attitude by how much fun they express. I, for one, do not speak a lick of Swedish. But once the needle hits the grooves, I’m a bouncing, epileptic, spazz boy with no rhythm. Old school and street punk lovers will join hands and become lovers of this band once they hear the punk flavor they created. I saw on a Swedish distro website that the 1st and 3rd EP have been re-released. I have to get my hands on some of that! I hope their whole catalog gets the same treatment. –don (Hohnie)


ARRIVALS, THE:
Exsenator Orange: CD
I kept hearing about how good this band was so I decided to crawl out of my hole in the ground and check them out. "Good" is the understatement of the year. Most people use the n-word (Naked Raygun) to describe the Arrivals, and that sound is definitely there, but I actually hear more Radon than anything else. Using the least geeky terms possible, both bands make real music for real people, people who don't give two shits about trends or popularity and play their music like it's the most natural thing in the world. This is everything that you could want in a band: honesty, sincerity, creativity, and truckloads of the rock and roll. –Josh (Thick)


AMDI PETERSEN:
Blod Ser Mere Virkeligt Ud Pa Film: 7"
Havoc Records has put out a lot of great European hardcore bands that actually play hardcore and not metal or emo, and Amdi Petersen's Arme from Denmark continues in that fine tradition. Although the lyrics are in another language, this is proof that hardcore can still be interesting without sucking off the greats from the past. Hell, if I didn't know that this was a new band, I would have thought it was a great from the past. A ripping single and a damn shame that they broke up. –Josh (Havoc)


ALMOST THERE:
She Was Like, and I Was All: CD
It seems like anytime I listen to a new record these days, my head fills up with band names – that is, the names of the bands whose sound has been looted by the band I'm presently listening to. I don't know if that says something about the current state of punk, or if it's just a sad commentary on the typical Reviewer's Mindset. Probably both – and an ugly 69 position it is. When I listen to Almost There, I hear Bad Religion, SNFU, and the Lillingtons. That bugged me at first, but then the catchiness of the music took over and I didn't mind it so much. Safe, but not bad. I like the fast stuff best. Imagine that. –aphid (Bitch Slap)


AGAINST ME!:
The Disco Before the Breakdown: EP (CD and 7")
I wasn't going to review this for stacks full of bias, but someone just asked me to tell them about the new Against Me! EP, and I figured that since I am writing this anyway... I like it a lot. Not quite as punk or sing-along as the last two releases, but that's not BAD. Tom from Against Me! told me that the 7" is better than the CD version. I like the cover photo because it had the guitar player, James, looking completely filled with passion, with the arm of some random crowd member leaning against him. Songs are as such: “Disco Before the Breakdown” – a beautiful, elaborate song about sexuality. Subtle message against homophobia. The horns... I have mixed feelings on. “Tonight We Are Going to Give it 35%” – God DAMN. My best friend and I had been having a breakdown in communication after a bad point in her life and she referred to these lyrics as exactly what she would have liked to have said. (Oddly, she and I toured with Against Me! just before this was recorded.) Blends Tom screaming his throat out with James singing and playing angelic melodies in the background. “Beginning in An Ending” – is a poignant, simple song that grows like a collage of unrelated material that somehow works together perfectly. Of course, go figure the song that has lines about reading my zines in it. (Seriously.) –rich (No Idea)


ACRO-BRATS, THE:
Kicking & Screaming: CD
Overall pretty good, in a Warped Tour/MTV kind of way. Has that Good Charlotte meets New Found Glory thing going. Will I keep it? Probably not. I will give it to someone who might. –don (Susspool)


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