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Record Reviews

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Below are some recently posted reviews.

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JOEY CAPE:
Bridge: CD

I put this CD in my laptop and my first impression was of intricate, mostly folky acoustic guitar with slight Latin jazz elements and throaty, melodically droning vocals. I’m listening to this and thinking, “It’s nice, but how the heck did this get to Razorcake?” Then I look up JoeyCape on Wikipedia. Then I have a good, hearty laugh at myself. If you’re a Lagwagon fan but have never heard singer Cape’s solo work, this is definitely not what you might expect. Cape’s songs are delicate and earthy, mostly downtempo, but occasionally picking up the beat. “Canoe” almost sounds like Simon & Garfunkel (using vocal clips of his toddler was maybe a bit too cheesy for me). This is one of those albums you can really enjoy and still put on when your mom comes over. Favorite track has to be “The Ramones Are Dead.”

–Sarah Shay (Suburban Home)


ISIS:
Wavering Radiant: CD/2xLP
I’ve always considered myself a nominal Isis fan. I had all their albums but didn’t listen to them much. However, I started reading some reviews of their latest album, Wavering Radiant, and was amazed how positive they all were so I decided to check it out. And I am very glad I did. This is easily Isis’ best work and it starts with the artwork. Designed by frontman Aaron Turner, it is gorgeous, especially for the LP. And speaking of Turner, his vocals on this album showcase his ability to maneuver between low barking and pleasantly melodic. It complements the sound wonderfully. It seems as though his vocals are about being another instrument more than the exact content of the words. This is okay because, lyrically, I have no idea what’s going on, as Turner’s verses are as cryptic as ever. The music, as usual, is the key with Isis. While a Neurosis (and maybe a little Mastodon?) influence can still be heard in the background throughout the album, the songs distinctly belong to Isis. It can be hard to pin a label on the band. They’re not quite metal but they’re not ambient by any means, either. Like other albums, it rotates between crushing and pleasant, brutal and gently floating. And every time you listen to the beauty of the album, Isis isn’t afraid to turn it over to the harsh. However, there is also a texture here—primarily through effective use of the keyboards—that wasn’t around on the other albums, or at least not utilized to the extent as on Wavering Radiant. These seven songs may not come out and grab you the first time through. Seeing as they’re meant to be listened to as a cohesive album, Wavering Radiant may require some commitment. Turn the lights out, lie down on your bed, put on the headphones, and turn it up. Unless the releases for the second half of 2009 blow me away, Wavering Radiant is easily making my top five of the year. –kurt (Ipecac, ipecac.com)


HEXTALLS:
Call It a Comeback: LP
When I put this record on, a loud groan erupted from my body. My ears folded over on their own, trying to block the music out. My body struggled toward the window for a quick escape, but I stood strong and listened. The songs sound so formulaic that I found it hard to differentiate one from the next. They all went on way too long. I sat through lines like “Michael Myers is a big homo” and songs with titles like “Puckward Nipples the 3rd.” My stamina paid off with the moderately rocking “Unicorn Rider,” during which I thought that this band could have done something nice with the 7” format. Then they rewarded my perseverance by slapping me in the face and closing out the first side with a phone message from the Doctor Phil show in which one of the show’s people said that she sent an e-mail to one of the guys in the band. Yeah, it’s that exciting. So is this record. –mp (House Party)


GLEAM GARDEN / THE TIM VERSION:
Split: 7” EP
GleamGarden: It’s not that hard to imagine if The Replacements, when they were sixteen and seventeen, instead of forming in Minneapolis, were three Japanese dudes on the other side of the world, coming up with their own version of Stink in 2009. Far from a complete rip, GleamGarden’s two songs are wailing, yearning snaps of songs that remind me that youth is a state of mind and geography is often secondary to the real estate between one’s ears. The Tim Version: Sing about a tree without irony. The tree is equated to a dearly missed uncle. It’s this direct honesty, these emotions-laid-bare without apology or overly precious metaphor that’s one of the engines of The Tim Version’s power. The other is that they’re just a collective badass: commanding playing, erecting small houses with each song. All I need to know this world is fucked-in-the-A is that a purely rockin’ band like The Tim Version is largely marginalized because they don’t have a “hook” beyond genuinely great songs, or a “look” beyond firm handshakes, easy smiles, “stupid” tattoos, and being fuckin’ great dudes. The second song is a tender J Church cover. –todd (Snuffy Smiles)


HOSTAGES OF AYATOLLAH:
AntHOAlogy: CD
A very nicely packaged anthology of tracks from one of the best American hardcore-inspired German bands of the ‘80s. They knew how to thrash things up with the best of ‘em, but they weren’t afraid in the least to make things catchy and tuneful at the same time, though the singer occasionally sounds like Snake from Voivod during that band’s War and Pain era. Included is a fairly packed booklet with lotsa info on the band (though yer gonna need to be pretty fluent in German ‘cause that’s mostly what it’s written in) and a DVD with live footage and some videos for songs that were originally filmed to be part of a German punk film that was never released. Definitely worth hunting down. –jimmy (x-mist.de)


HITCHHIKERS, THE:
Intellectual Properties of the Minimal Mind: CD
Ex-Humpers and ex-Bleeders make up this band that reminds me of the Hyenas, the Supersuckers, and Nashville Pussy. You know, the types of bands who claim to be dangerous ex-felons and boast that “anything can happen at our shows,” when, in reality, everything about their live performances is choreographed—the guitarist’s poses, the bass players facial expressions, the drummers stick twirls—and predictable. I didn’t hear anything exciting on this disc and rolled my eyes and chuckled at the tough guy band photo they have superimposed on top of the CD. Real bad assed. –benke (Zodiac Killer)


G.G. ALLIN AND THE CAROLINA SHITKICKERS:
Self-titled: 7”
Navigating GG Allin’s discography can be perilous. People will tell you that it’s not worth the effort. On the other hand, there are people who believe the man did no wrong. The reality is somewhere in the middle. These three tunes he recorded with the Carolina Shitkickers—Antiseen’s Jeff Clayton and some other rednecks—are an essential stop for anyone interested in hearing what GG could do. Recorded not long before his overdose exit, these songs represent his outlaw country side. On the A side, you get GG the scumfuc storyteller. “Layin’ up with Linda” is a murder ballad that is disturbing in its absolute coldness. After getting bored and deciding to kill the woman he was shacking up with, the narrator’s only regret is that they had some fun together—doing drugs and fucking—and they wouldn’t be able to anymore. The B side is the best, closing out with GG’s cover of David Allan Coe’s “Long Haired Redneck,” renamed and rewritten as “Outlaw Scumfuc.” GG’s version cranks up the antagonistic attitude of the original. The only thing keeping it from sounding flat-out belligerent are the little details here and there that are almost endearing, like how, between talking about fighting and drinking whiskey by the gallon, he adds, “I live on peanut butter sandwiches, I don’t care.” Details like that—reminders that GG was a human and not a circus freak—are hard to come by in his music. That’s why this record is essential. –mp (Zodiac Killer)


GIANT HAYSTACKS / YOUNG OFFENDERS:
Split: 12”
Giant Haystacks: The cheaty math is a complex, clear, powerful distillation of Minutemen and Wire. Like grain alcohol, contained, you can see right through it; little distortion. But, when you twist off the cap and take a deep drink, that’s when things can get interesting, when things burn. Their five songs are simultaneous hand-wringers and hand-clappers. A dancing paranoia. A celebratory time with your head in an over-sized mouse trap, uncertain when it will snap shut. And it’s this garroting with a smile that makes the Giant Haystacks spurt far beyond a band that’s merely comfortably looking backwards through their musical rearview mirror. They have since broken up and some members have recongealed as The Airfix Kits. Young Offenders: This may sound horrible, but the Young Offenders make me so happy, that if I was shot in the back of the head during one of their songs, hey, at least I’d die with a big smile on my once-face. I imagine this was a similar reaction to people first hearing The Buzzcocks and The Undertones. It’s fast, poppy, and melodic, but the hooks are viral instead of sugar-evaporative. The heft and tumble are undeniably what keeps the songs clean and clangy, like rocks in a washing machine; polishing with each successive tumble on the turntable. Highly recommended. –todd (625)


GEIN AND THE GRAVEROBBERS:
Gruesome Twosome: CD
Two discs packed full of horror-inspired surf music. Disc one is the band’s Songs in the Key of Evil album, along with the Humanoids From the Deep EP. It’s perfectly executed, but bland. Disc two is where the good stuff is. Their Passion of the Anti-Christ album draws inspiration from metal. It’s about as ominous as you can get while still staying in the sunny realm of surf. –mp (Necro-Tone)


GATEWAY DISTRICT, THE:
Some Days You Get the Thunder: CD
Debut full length from a Minneapolis super group that’s self described as “fancy the way McDonald’s ketchup is fancy,” featuring ex-members of Rivethead and The Soviettes. The record sounds incredibly like the later, with Maren/Sturgeon providing about half of the vocals, but the other singer sounds just like Kim Shattuck, with just a little bit of country swagger that also translates into the rest of the songs. Think of it as like LP III ½, if you will. I absolutely love the hell out of this. –joe (It’s Alive)


FUZZTONES:
Horny as Hell: CD
Nowhere near as, um, fuzzy as I remember the last time I heard anything by ‘em—which I freely admit was, like, twenty years ago, so it might be my memory that’s fuzzy—but, on the whole, this ain’t all that bad. The tunes are still steeped in the same ‘60s stew they’ve always been, but the production makes ‘em sound like the ‘70s incarnation of a ‘60s band revisiting their old stomping grounds with a horn section (hence the title) in tow. Dunno (and really don’t care) how the purists are gonna feel, but this could’ve gone down much, much worse. –jimmy (No Fun)


FLATFOOT:
Wild Was Our Mercy: LP
Flatfoot play straight-up country music in that way that a lot of punks tend to do these days. You can just tell when someone has listened to an ungodly amount of Paul Westerberg, respecting the hell out of him and his song crafting abilities. Fans of Whiskey & Co. should definitely track this hand-screened, hand-numbered (out of 300) LP down. –Daryl Gussin (Los Diaper)


FLAGITIOUS IDIOSYNCRASY IN THE DILAPIDATION:
Self-titled: LP
I have absolutely no idea what Flagitious Idiosyncrasy In The Dilapidation’s name means, and I’m too lazy to look for a dictionary. It looks like Carcass lyrics to me. The music, however, is undeniably brutal grindcore and even a dolt such as myself can understand that. Take the precision of Discordance Axis, throw in Drop Dead’s crustier leanings and wrap them in the modern grind styles of Hewhocorrupts. Now change all of those bands’ members into women. FID may very well be the world’s first and fastest all-female grindcore band. Japan has never been short of bands with strong female presence (Melt Banana, Romantic Gorilla), but FID is, thankfully, here to cover all the bases. Pummeling heaviness and whirlwind speed all brought to you courtesy of four cute women who look like they weigh less than their instruments. It’s always awesome to see the ladies kick down the door of a sausage fest of a genre then proceed to musically kick everyone in the balls. –Juan Espinosa (Six Weeks)


FAGGOT:
Self-titled: CD
This band has shock down to a science. Offensive band name? Yep. Album artwork covered with images of penises and anuses slathered in neon green? Absolutely. Video directed by Lloyd Kaufman of Troma films fame? It’s included on the CD. But that shit’s the easy part. It’s not worth anything if the music doesn’t rock. It has no value if you don’t listen to the album so many times that you find yourself at work in the office or grocery store or wherever with random lines from “The Cleaner” running through your head. Maybe they accidentally spill out of your lips and a work buddy catches you quietly singing “Pull your legs over your head.” As you’re dragging the line out, trying to make it sound as caustic as possible, your face turns red and you realize that you need to keep that shit in your head. Pervert. –mp (Profane Existence/Selfish Satan)


FACE, LE:
Isolation: CD
These malcontents fall squarely between the arty minimalism of the Urinals/100 Flowers and the full-bore psychosis of the Mentally Ill. What that means to the consuming public is you get thirteen tracks of obstreperous punk rock that is concerned about finding an appropriate pigeonhole to fit in as the bands that influenced them. If you like it unfriendly and unruly, this’ll do the trick, but if you’re looking for something that’d fit nicely on punk stations like Disney Radio, you’re pissing up the wrong rope, kid. –jimmy (Deadbeat)


EYE FOR AN EYE:
Cisza: CD
These guys have a definite ‘90s hardcore sound, with the metallic elements, clean and thick production, studio trickery with vocal effects, and industrial crunch, but they are definitely European in sound and delivery; and, thankfully, not the American posturing of that time period. At times, they sound like a cross between La Fraction and Damnation AD: tuneful with a solid punch. Not exactly my favorite style, but not bad, and if you’re into this sort of sound, you will be pleasantly surprised. –Matt Average (Pasazer)


EXTREME NOISE TERROR:
Law of Retaliation: CD
No surprises here from the pioneering godfathers of grindcore: nineteen tracks of blazing, crusty metal hardcore only taking a breath long enough for the mildly disturbing samples at the beginning of most of the tracks on the record. One thing that sets ENT apart from most of their peers is having two lead vocalists and having two variants of the Cookie Monster is fundamentally more interesting than just one. Also, despite the somewhat challenging musical structures and ridiculous tempos, Extreme Noise Terror has a more appealing sense of melody and riffs than the legion of imitators that rose up in their wake. This is an above average release I would recommend to individuals not normally prone to listening to such an extreme form of punk rock music. –Jake Shut –Guest Contributor (Deep Six)


EX HUMAN:
Chicane b/w Detector: 7”
Solid trio playing Dead Boys’ style snot rock’n’roll with good back ups and a bass player who does more than play just the roots of the chords. “Chicane” is catchier, but both songs are first rate. The vocals are good, but a bit lost in the mix; I’d like to hear more of them. But that’s just mincing. It’s a great record for fans of ‘77. –Billups Allen (Full Breach Kicks)


ENVIRONMENTAL YOUTH CRUNCH:
Vicious Fishes: Cassette
This is the only tape I have ever gotten for review, and that fact endeared this band to me greatly. Make no mistake: this is not a home-recorded Memorex, but an actual, factual tape with the band name printed on the cassette and everything. How often do you see that? I was delighted when I popped the tape in and found it was actually good to boot. Solid, no-frills, shouty punk with a rootsy sensibility, if not an actual folk sound. The insert from their label calls them folk punk but I wouldn’t go that far. There’s a bit of that early Against Me! flavor, but this is way more melodic and happy. They cover the Friends theme song, for pete’s sake. And it works. –Sarah Shay (Dead Tank)


END OF A YEAR:
Self-titled: 7”
End Of A Year continues to be a shining example of what used to be amazing about hardcore. They’re songwriters, plain and simple, with lyrics that go beyond the used up HC topics of friendship, betrayal, or heart break. These aren’t a bunch of glammed-up, emo kids playing watered-down death metal with breakdowns… these are some true grit musicians writing about life. If you crossed the Revolution Summer sound with a trace of early Meat Puppets, then you’ll get a sense of what they’re doing. Fans of their last LP Sincerely will dig on this record. The trippy cover art was drawn by Erol Otus, illustrator of the early Dungeons & Dragons franchise. –Evan Katz (Deathwish, Deathwishinc.com)


EDDY CURRENT SUPPRESSION RING:
'Demon’s Demands” b/w “I’m Guilty”: 7”
Primary Colours, the Eddy Current full-length on Goner, is an album, not just a haphazard sequence of songs. By that I mean all the pieces fit, and being so, the picture is much bigger and more complex than individual songs. The song sequence and where the album breaks between the two sides are nicely calculated. It’s like they pick you up for a journey on the first side, buckle you in, and take you on for a great-ass ride with fascinating scenery rolling by the windows. This 7”, if placed somewhere in the middle of that record (I’ll leave it up to the experts to decide where), would fit perfectly (assuming that the vinyl could handle the length without compromising fidelity). The two songs on this 7” clock in a total of over eleven minutes of music. By themselves, they’re a more difficult introduction to this great Australian band. Imagine two slower, heavy-pedaling, uphill bicycle rides instead of one, hitting the peak, then zooming down in a sprint on the B-side (in a Velvet Underground meets The Saints way). –todd (Iron Lung)


EMOS, THE:
Quicker Than Khan: CD
Crude, sloppy, rock’n’roll punk and I mostly mean that as a compliment. The songs are good, raging fun and show a lot of potential. Despite this being punk world, I have to complain about excessively rough edges, where these folks need to step up their musicianship a little bit or put the time in on a couple more takes in the studio so the rhythm section does not occasionally veer off into musical trainwreck territory. Their crude and silly lyrics tend to match the musical attack by this trio from northwest England. These folks have some decent songs and a lot of heart so I am interested to see how this band progresses. –Jake Shut –Guest Contributor (Padded Cell, paddedcellrecords.co.uk)


DRUNKDRIVER:
Knife Day b/w January 2nd: EP
Two-song EP by this New York trio. “Knife Day” starts off with a very deranged-sounding rant followed by total audio destruction via a blown-out guitar cab and a drummer bent on wearing out his drum skins after each use. “January 2nd” is the real barn burner on this record. It’s the perfect soundtrack to a Voltron-like giant robot snorting a line of coke and then going on a destruction spree right before turning his sword on himself. No other kind of information on this record other than the band’s name and the song titles further adds to their mysterious charm. –Juan Espinosa (Fan Death)


DRUGLORDS OF THE AVENUES:
Sings Songs: CD
Johnny “Peebucks” Bonnel is back with another side project that’s familiar and strange. Faster and less folksy than Filthy Thieving Bastards, though their version of “Drug Lords of the Avenues” on Pappy Was a Pistol is virtually the same as the one that appears here, only muddier with more feedback. Good old fashioned Bay Area punk rock’n’roll. –Jim Ruland (Red Scare, myspace.com/redscarepunk)


DIVISION, THE:
Mantras: CD
When I was in college, my friends and I used to get together on Sunday nights and have tea and sit and listen to Hearts of Space, an ambient radio show on NPR. Hippies maybe, but it was always a relaxing, mellow way to end the weekend while also listening to some creative, droney, space music. It seems as though Mantras could easily fit in with that type of crowd. The Division is the one-man act of Chicago musician Matthew Schultz who has done time in both Lab Report and Pigface. Eight of the nine songs on this album clock in at exactly six minutes and two seconds; the last track is exactly six minutes. Given the background of the artist, one might expect a little more aggressive, abrasive sound but, instead, the music has an ambient tone that also utilizes some tribal beats and, more importantly, a number of instruments and styles of playing most identifiable from other cultures. In Indian religions mantras are deemed able to produce spiritual transformation. I don’t know if that was Schultz’s intention, but given the right setting (dark room, comfortable seat, a cup of tea, some incense), the tracks on Mantras might very well take you to a different place. –kurt (Lens)


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