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Record Reviews

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Below are some recently posted reviews.

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AUDACITY / PTERODACDUDES:
Split: 7" EP
Somewhere between Bob Dobbs and Joseph Stalin, mushrooms, and Burt Reynolds’ chest hair we can trace the influences and common denominators between these two bands. Probably not very helpful. Pterodacdudes: Jammy and weedy, but not hippie. More like old rock’n’roll hooks filtered through well-worn denim and thrift store flannel. “(-)G2” is a meaty, catchy song with a soaring guitar. Audacity: A crunched-up, snapped cover of Red Cross’s “Annette’s Got the Hits” that stands up to Neon King Kong’s take. Their original, “Desert Man,” is just as antsy pantsy; a chaotic smudge of a song that has a nice “Ack, Ack, Ack, Ack” (both Urinals and Bill The Cat) anxiety to it. –todd (Small Pool)


ASHTRAY:
The Power of Positive Drinking: CD
This doesn’t do anything for me. I mean, it’s intriguing, sure, but good? That’s debatable. I think this, in a different context, could equate to a fun night. If I were, say, jumping around with adrenaline in my system at a concert, it is not entirely improbable that I’d bang my head to this female/male dual vocal street punk thing they’ve got going on. It’s not something you’ll shit bricks to, but if you’re in the right mood you might get a marble. –Bryan Static (Silver Sprocket)


ASHTRAY:
Operation Ashtray: CD
This is a recording of a live set of Op Ivy covers. The vocalists (a guy and a girl) sound like they belong in Blatz more than Op Ivy. The instrumentation is okay, but the band as a whole doesn’t bring as much vigor live as Op Ivy does recorded. The set comes from a birthday/cancer research benefit show where all the bands were doing covers, which explains why the band performed this in the first place. I’m sure it was a real hoot to do for the band and for some of the people at the show to see, but I just don’t know why anybody would want sub par versions of these songs covered live on disc. (Some money from the sales of this disc goes towards cancer research.)  –Vincent Battilana (Silver Sprocket)


AUDACITY:
Power Drowning: LP
The Audacity/Makeout Party split 7” almost made me piss my pants. I wasn’t expecting a.) anything from Audacity—as I hadn’t heard them before—and surely b.) I didn’t expect Thee Makeout Party to be matched up with a serious contender on whose side I would play first when I spun the 7”. Unfortunately, this LP doesn’t quite live up to the promise of that one song. But all is far from lost. These Audacity dudes are young. (Between seventeen and eighteen.) And it’s not as kitschy as Mad Society, nor does it sound as parent-manufactured and heavily guided as something like The Diffs. I think Power Drowning has some really great parts: Urinals-y noise bits sift into jammy, sunshiney bits reminiscent of the Abi Yoyos. But, the overall effect is a record that’s a little too loose and trying too many things. It’s like it loses its own character by trying on so many other people’s pants… instead of staying in one pair and pissing in them. This record is this side of good, and it’s full of promise. –todd (Burger)


ACTION FRIEND:
Self-titled: CD
Action Friend’s heavy debut immediately penetrates your warm, wet, sonic psyche—whether you like it or not—and that’s how it is for the rest of this erratic, yet well planned and expertly executed sonic voyage into the genre blending, grunge-saturated, mind-fuck zone. You will either love it or hate it, but it’s not going to stop. Track one, “Powerbate,” instantly erupts hardcore/grunge style just long enough to get the hard head-nod rhythm going before sliding into rapid, Herman Munster-like surf for a few measures—complete with old-school hand claps—before bridging into some very stony, traditional reggae. Then it spasmodically returns to the original furious brain bashing. Just when you feel the rhythm and think you know where these songs are going, they make abrupt shifts in style, tone, speed, and direction. While other fusion bands seamlessly blend in and out of various styles, Action Friend’s genre-bending is much more segmented while remaining clearly connected to what came before. It’s like being thrown around on a rough carnival ride that has a few deliberately broken bolts and no restraining bar. Track three, “Decorator’s Lament,” evolves from a hip-swiveling ditty to a Dick Dale-like surf tune, to a brief double-bass fueled Slayer-like metal interlude, more Melvinsish coagulated fuzz, and some of that creepily soothing muzak stuff, before allowing all of these elements to dance in and around each other. There are no words, only seven expertly executed tracks of delightfully weird rhythmic concoctions—with added pummeling by Melvins’ Dale Crover—that create a strong sense of deliberate madness. I love playing this and watching people’s expressions of amazed confusion.  –Marcus Solomon (Pelvic Thrust)


APACHE:
Boom Town Gems: Cassette
A Flaming Dr. Pepper is a party shot where beer, amaretto, and 151 rum are mixed to somehow taste like Dr. Pepper. Apache is a rock band from California who mix power pop, ‘70s party rock, and gratuitous guitar noodling to somehow sound like…the first Poison album. Ouch. I just remembered that I don’t like Dr. Pepper, either. –CT Terry (Burger)


ACCIDENTAL GUN DEATH:
Skies Are Blue: 7"
If the Reese’s Peanut Butter Cups situation (two guys, one with chocolate, the other peanut butter) were music, this would be the equivalent of: “Hey, you got your pop punk in my hardcore!” The result is almost like the two ingredients were made for one another. The music’s not as tasty as say, a peanut butter cup, but it’s just as worth the time. And, no, Reese’s did not pay me to write that incredibly delicious metaphor.  –Bryan Static (Blind Spot)


AARON ZIMMER:
Live Wires: CD
I need another album from a mediocre singer/songwriter about as much as I need another four years of George W. Bush being President. –kurt (Self-released)


GET BENT / JEAN CLAUDE JAM BAND:
Split: 7"
While J.C.J.B. definitely has the superior name, I found Get Bent to be a much tighter band with an overall more enjoyable song. It features heartfelt, clean vocals from one singer plus a contribution from a really cool, raspy singer towards the end. They come off like a faster, more aggressive Jawbreaker. JCJB brings more of the Americana, country-influenced style complete with guitar solos and laid-back harmonizing. As much as I love that stuff when it works, I just didn’t see it jelling as much here. Maybe next time. -Evan Katz –Guest Contributor (Kiss Of Death)


GAY WITCH ABORTION:
Maverick: CD
First things first, this has to be one of the most absurd band names ever. Musically, this duo sounds like some forgotten, late-period SST jam band. Or more currently, some band with an opening slot at the Relax Bar. The songs are loud, and a bit bombastic, but they don’t flat-out rock. The songs ramble, soar at points, and get noodly. And yet nothing really takes hold. Ehhh.... –Matt Average (Learning Curve)


GABRIEL HART:
The Nightlight EP: 7”
Gabriel Hart of Los Angeles area bands the Starvations and Jail Weddings plays solo here (with minimalist drumming by bandmate Ian Harrower) on this 7”, with four haunting, howling acoustic songs (three originals, one Masonics cover). Spanish-tinged guitar and a little bit of echo in the vocals give the songs a slight, spooky feel. The strumming and crooning seems to recall long-gone voices of the American pop and rock and roll catalogue—people like Roy Orbison and Ricky Nelson come to mind—without this being a tacky and tasteless throwback or some other novelty of Americana. –Jeff Proctor –Guest Contributor (Red Wine)


FUCKED UP:
The Chemistry of Common Life: CD
When it comes to Fucked Up, I can’t but help think it’s a case of the “king has no clothes” going on. Their singles were just okay. Nothing classic or really groundbreaking. The Hidden World LP was okay. It’s definitely not as edgy as people made it out to be. Yeah, they were breaking away from being a run-of-the-mill hardcore band by extending their songs and adding different sounds, etc., but still, nothing mind blowing or exactly reshaping music. This new album is the sound of a band who is trying too hard to be “out there.” Everything sounds forced, and done for the sake of doing it, because it’s expected. The experimental side they have been angling for is overdone, which detracts from any power the songs may have. It’s almost as if they’re hoping listeners will sit around, “Did they just add pop vocals to this song (“Black Albion Bones”)?!? That’s like, so whacky!” Layers of keyboards, feedback, and more, and it all goes nowhere. The songs drone on and on; no energy or charisma. “Royal Swan” is beyond ridiculous. The first song, “Son the Father” is decent, but, for the most part, this album is boring. I found myself thinking the songs were lasting forever, and then I would check the disc player and see I was only four minutes into a song. This is prog rock lite. Convoluted is a good superlative to describe this. –Matt Average (Matador)


FREEZE, THE:
Land of the Lost: LP
I don’t know who the bigger Freeze fans are. Dr. Strange? Schizophrenic? Both labels are keeping The Freeze’s name alive and music available for the masses. Dr. Strange has been doing it via CD, but Schizophrenic is the choice for the vinyl collector nerd. If you get the mailorder copy of their reissues, you get added packaging and always-cool colored vinyl. This copy I have in my hands is a cool orange with black splatter. It’s so beautiful to look at. Regardless of the packaging, the music here is essential. This is the first LP originally released by Mother Method Records in 1984 from these Massachusetts hardcore legends. It is every bit as good back then as hearing it now. It definitely has stood the test of time. When bands of their era were getting faster, they maintained their control and went out to just rock you the fuck out. This is a classic that shouldn’t be overlooked. –don (Schizophrenic)


FRANTIC CLAM:
Anatomica: CDEP
This CD is filled with artsy singer songwriter fartsy pop music. Guitarist/singer Zack Hadley’s voice is pitchy and often backed with falsetto (do beware), but it’s unique. The secret track nicely finishes the album out. It’s a short, stripped-down, moody tune with keyboards that sound like bagpipes. Overall, it’s interesting but none of the tracks make me want to keep hitting the repeat button. –N.L. Dewart –Guest Contributor (Exemplary)


FLIPPER:
Generic; Gone Fishin; Sex Bomb Baby!; Public Flipper Limited: CD

This set reissues most of Flipper’s catalogue except for the live Blow’n Chunks album and the post-Will Shatter American Grafishy. This is a great thing in light of how everything but the subpar Blow’nChunks album has been massively out of print for years. Flipper are an acquired taste, but, at the same time, are completely essential, if that makes sense. Flipper has a remarkable ability to make songs that are anti-musical, yet catchy. Generic and Gone Fishin’ are Flipper’s first two studio full-lengths. They both showcase how Flipper are able to channel things like ugliness or depression and turn it into something that ultimately feels cathartic and renewing. The genius of Flipper lies partially in the accessibility of their inaccessible music. This isn’t the sound of a dude with overblown testosterone issues bellowing about pain, or of maddeningly pretentious-sounding indie dudes. Rather, vocalist/bassists Bruce Loose and Will Shatter sound like relatable, if perhaps off-kilter, people.

The classic songs to recommend are many: “Life,” “Ever,” “I (Saw You) Shine,” “First the Heart,” “Sacrifice.” All these songs feel like they pull you into dark areas with bleak lyrics, guitar that’s mostly ambient noise, and repetitive, muddy bass that often ends up being the lead instrument. The trick is that you come out the other side feeling better. Oddly enough, about the only song on the two albums I’m not completely crazy about is the semi-hit “Sex Bomb.” Public Flipper is a double live album that has recordings spanning five years. Most of these recording are actually as good as the studio versions, plus there are a few songs that aren’t on any studio albums. This is totally worth getting for the absolutely transcendent version of “Life” on disc two and the awesome Flipper board game that can be made out of the packaging. Sex Bomb Baby! is a rarities compilation. Some of the stuff is lackluster, like “Lowrider” and the really odd version of “Ever.” This is the least essential of the CDs—except that it has one of the most essential Flipper songs on it, “Ha Ha Ha”—so get this one too. To paraphrase Krist Novoselic in his liner notes for Generic, the first several times someone ever hears Flipper they might sound like just a raw, distorted, ugly wash, but then one day they may suddenly click and you realize that they may be one of the best bands in the world.

–Adrian (Water)


FITT, THE:
Hawk Eyes: 7”
At first I was surprised by how metal and heavy The Fitt is for someone on Big Neck Recs., but, then again, the Neck always has some hard-hitting trash and this is like The Mistreators on a Sepultura kick, which is fun, dirty fuzz, and fast at times. A little too much “hey batter batter hey batter batter” pounding for my tastes, but a couple songs burn fast, and those are tasty. –mike (Big Neck)


FAKE BOYS, THE:
Pop Punk Is Dead: CD
I’ve listened to this three times now, and it just isn’t catching. I don’t think it sucks, but there’s something definitely off about the album. It might have to do with the production, which is overly produced. It just sounds so clean that all the edge is drained from the songs. The vocals also grow repetitive and overly affected in parts. Still, I do think that the album has its strengths—and some of the songs have a cool power pop quality to them—while others even come off like a much faster, less emotional Samiam. I’d love to hear them with some dirty, more grounded production. I’m also thinking that this works much better live. –Evan Katz –Guest Contributor (Cheapskate)


EYE FOR AN EYE:
Cisza: CD
A nerdy thing I do when I go to Razorcake HQ is to first ask if Jimmy Alvarado has come in yet to pick up review material. If he has, the review material has been picked through. If he hasn’t, I dive into the bin of unsorted and unassigned records and CDs. First thing I see of interest while going through piles of CDs is this release. Yes! I reviewed the Gra LP last year by this band from Poland and it was one of my favorites. Same as their previous release, the songs jump out immediately and pummel you with a wave of sonic energy: fast hardcore with hints of guitar melody that highlights the power chords. Female vocals are yell/sung and that puts the vocals in the forefront with her unique and distinctive delivery. The recording production is superb and crisp. This and their previous release sound like they were recorded at a top notch studio. You can hear the vocals and guitars mixed in perfectly with the thundering drums and well executed, punchy bass. I like this band so much now that I’m sending an email to the label to order the early material. –don (Pasazer)


EVERYBODYOUT:
Self-titled: CD
I grabbed this mostly because I was surprised to see that Taang! was still an active label. Although, judging by the copyrights on the package, this might have come out in 2007. Everybodyout reminds me of what one would get if they mashed the accessible Boston bands from the nineties (Mighty Mighty Bosstones, Avoid One Thing, Dropkick Murphys, etc.) together and maybe sprinkled it with a Duane Peters band minus all the grit. The band takes shots at folk (“Billy Cole”), ska (“Yeah, Yeah, Yeah, Yeah”), NY Doll-ish rock and roll (“All I Got”), and a lot of gang-chorus, sing-a-long punk. In the process of trying to tackle so much, it tends to sound like the band lacks an identity of its own. It’s like listening to a competent but non-stimulating cover band. Putting this CD on really makes me want to listen to a US Bombs or Bosstones album instead. –Adrian (Taang!)


EVACUATE:
Self-titled: CD
Blazing hardcore punk with a real axe to grind! Evacuate utilize a myriad of styles: some early ‘80s L.A. punk alà The Adolescents, all the way to faster, more aggressive stuff like Poison Idea. The lyrics focus on dissatisfaction with the current state of hardcore, the futility of living a life vicariously through the internet, and bulimia. Very cool, aggressive stuff. The songs are short and fast, but are each unique enough to distinguish themselves from the rest. I’d really like to see them live. Look for this disc when it drops! –Evan Katz –Guest Contributor (Taang!)


ENVIRONMENTAL YOUTH CRUNCH:
Vicious Fishes: Cassette
Environmental Youth Crunch is an awesome, sloppy pop punk band from Florida in the vein of The Bananas. The crunchy lyrics are a bit much at times, but this cassette got me excited enough that I’m definitely going to check out their other releases. The folksy words won’t make you start recycling if you aren’t already, but the rocking tunes will remind you of a time when cassettes and pop punk ruled the earth. This killer split label release from Dead Tank Records and The People’s Republic Of Rock And Roll is well worth seeking out. –Art Ettinger (Dead Tank/People’s Republic Of Rock And Roll)


ENDANGERED FECES:
Number 2: CD
Endangered Feces is the Pooplo Picasso of scat songs. What’s that? You say you’ve grown up? You’re too old for poop jokes? Liar! Your taste for poop jokes has only matured like a fine wine. Well, maybe not like a fine wine, but like a perfectly acceptable wine, a wine that you drink so much of that it gives you the runs. The truth is that you still crack up when an old person walks by and accidentally lets a big wet one slip. You’ll crack up just as much when you hear the lyrics to “Deuces Wild,” about the moral quandaries that arise when people are hit with turtle heads when they’re in their cars. “When deuces are wild, toilet paper is like gold.” Indeed. But this CD, which flies by like a healthy post-burrito blast, does not sound like shit at all. The songs are tight and catchy. It’s pop punk with a hardcore education, just rough enough around the edges to give it some urgency. And, of course, life can’t revolve around poop (although, to some extent, it does), so the band throws in a quick cover of “On the Road Again.” Buy this and stop pretending that your sense of humor is any different now than it was in fifth grade. –mp (Overdose On Records)


EEGOS, THE:
Self-titled: 7”
I really liked their other self-titled 7” (this one has the brain on the cover) and was hoping they would be on a path going up, from a cool power pop group I wouldn’t mind hearing to the essential listening of The Marked Men, and this 7” is about there. The first song, “If You Ain’t Shaking,” is great pop pop pop pogo fun with silly words. Then the next song, “Daddy’s Money,” is what I was hoping for. Really driving, edgy snotty brilliance that I can’t stop playing and head nodding to. I think it’s about a greaser kid who takes a rich girl out on a date and swears to not love her, or something. Pretty perfect. I don’t want to say the B-side is filler; it’s really fun. It’s just that I’m still bopping on that one song. –mike (Felony Fidelity)


DWARVES / ROYCE CRACKER:
Split: 7”
First, I’d like to take a moment to comment on the artwork. I don’t mean to be a jerk, but it’s really kind of ugly. It looks like someone got a hold of a copy of Photoshop 3.0 and thought it would be neat to make Ozzie and Harriet look like they’ve got rotting teeth. More pictures of rotting teeth (and a meth lab, to boot) are found on back, as well as on the insert. Meth is the predominant theme here, with (by my count) four of the five songs on the two sides dedicated to meth in some way or another. The record starts off with a live version of the Dwarves song “Speed Demon,” which originally appeared as a Sub Pop single. This version, recorded in the U.K. in 1995, is kind of quiet and kind of muddy sounding. Aside from the audio quality, it’s not a bad song. For those not familiar with the original version, think of your favorite New Bomb Turks song given a little bit of a metal makeover. The second song kind of threw me for a loop. Titled “Tweek,” Blag here raps over beats created by 7” mate Royce Cracker and DJ Marz. The rap is meth-inspired paranoia and, frankly, it’s quite good. Sonically, it is reminiscent of nerd-core MC’s (MC Chris in particular) with Blag’s high-pitched, nasally rhymes and schizophrenic cadence, alternating from the spastic to the subdued. Royce Cracker picks up where Blag’s rap left off. First track, “Doin’ Watcha Say,” is a short burst of what sounds like samples taken from a campy war movie, marching band and flute included. The second track, “Meth Stop Calling,” is an angry phone call from what appears to be an ex-girlfriend, ranting and raving over unsettling beats. Blag returns on the last track, “Who Put the Methamphetamine in Mr. Everything?” which is more of a lazy, lounge-y rhyme and rhythm than “Tweek,” though, of course, still about their narcotic du jour. Pleasantly bizarre, this comes recommended for Dwarves completists, meth aficionados, and nerd-core devotees. –Jeff Proctor –Guest Contributor (Zodiac Killer, www.zodiackillerrecords.com)


DUMBS:
Rocket from Poland: CD
As far as I can tell, this is a Polish Ramones cover band. Needless to say, it’s pretty amazing. Lyrics are sung in Polish, but you’ll definitely recognize most of the songs pretty instantly. Sure, it’s kind of a novelty, but you can’t help being charmed. The fact that the playing is extremely tight doesn’t hurt either. The cover and insert feature some really cool comic art featuring the band flying around on a rocket. Fun stuff. –Evan Katz –Guest Contributor (Pasazer)


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·RESPECT THE RICH
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·THE TICK NEW SERIES #6
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