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Record Reviews

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Below are some recently posted reviews.

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DRIPFEEDER:
The Cure Is Fatal: Demo CD
How they describe their sound: “Mix equal Parts Black Sabbath and Black Flag in a burned-out squat in the most impoverished neighborhood in town.” How I describe their sound: Take a bunch of dudes who listen to the stuff Relapse put out around 1998, shove them in a dumpster, shake it around until they’re really dizzy and really pissed off, and then tell them to record a demo. –mp (Self-released)


DOPAMINES / TILL PLAINS:
Split: 7”
The Dopamines play poppy Midwestern sing-a-long punk, that sounds to me like it could have been the long lost third side to the Digger/Weston Wilkum to Pennsylvania split 7”. Competently played, with perhaps a bit of spit polish, a busy bass line intersects peppy guitar that occasionally breaks into well-timed chugga chugga starts and stops while cue-the-background-vocals come in to save the day. This is the kind of thing that the 1996 me would have eaten up. 2009 me is looking for a little bit more than what the Dopamines have to offer here. Sharing the 7” with the Dopamines is Till Plains, who, like the Dopamines, are from Ohio, and also recall bits of ‘90s pop punk, though with a bit more depth, channeling The Jack Palance Band before meandering off into Hot Water Music territory. The two Till Plains songs here foretell potentially interesting future offerings from the band, and help carry some of the weight to give this 7” a passing grade. And it comes on a nice slab of blue marble vinyl, too. –Jeff Proctor –Guest Contributor (It’s Alive)


DOPAMINES / TILL PLAINS:
Split: 7”
Dopamines: First time hearing them on record, pretty standard, rough/Midwest style pop punk, with one straight forward song, and one acoustic-then-way-loud song. It’s okay. Till Plains: First time hearing of them, ever. Kind of like a noodle-y indie rock band, but with a faster/harder attack. –joe (It’s Alive/Soapy Hand)


DOOMHAWK:
Self-titled: LP
On occasion, I’m fine with bands fucking with expectations, as long as it doesn’t feel like they’re laughing at, or behind the backs, of the listener. It also doesn’t hurt if the band doesn’t come across as masturbatatorial pretentious instead of involved in intrepid songwriting. Doomhawk play long-ass songs (four long ones, one short one on a 33 RPM 12” LP) that genre-skip from circus metal to electronica to disco to orchestral to spoken Speak-n-Spell to ska to industrial to gypsy to Hobbit vs. Orc to Middle Eastern whathaveyou. Granted, it’s not every day or every-type-of-situation music for me, but it’s got a nice heft and grit to it, even in the quieter parts. My depth of knowledge is shallow with this type of stuff, but I’d say fans of Praxis, Smegma, and the “getting right with the earth” magick set would like it instantly. –todd (Rumbletowne)


DISSIMILARS:
Hit Record: Tape
Dirty-ass, lo-fi garage punk from San Diego. It has the broken down basement sound that could only be made by young kids who don’t give a fuck or old bastards with nothing to lose. The tape consists of all covers, (Consumers, The Lids, Ramones, The Pagans, The Kids, Reatards, Oblivions, and Supercharger). It’s hella fun and has definitely got some rotation in my tape player. It’s kind of weird, though, to listen to a tape of covers without already having an idea of the original personality of the band covering them. Don’t get me wrong, it totally shines through, but if I were going to get something by this band I’d hunt down some of their original stuff first. But once you have, don’t overlook this. The “Teenage Lobotomy” cover rips ass. –Craven (Green Door)


DISSIMILARS / SLAB CITY:
Split: 7”
Motards. Oblivians. Supercharger. Spits. Scared Of Chaka. To complete the garage rock, no-fi, crushed-beer-cans-of-destiny, loser-as-lifestyle pentagram: Dissimilars. SlabCity add an organ and it becomes a hexagram. Plenty great. Their geometries are tight. –todd (Green Door)


ONLY THUNDER:
Lower Bounds: CD
Sometimes, I feel bad for bands that miss the boat. I feel bad when a band decides on a style of music, puts everything it has into doing that style justice, and never considers the fact that the bandwagon was abandoned long ago. I mean, the whole Hot Water Music bearded emocore thing happened a decade ago, didn’t it? There was a brief period during which tons of copycats put out records. At that time, this Only Thunder CD probably would have been eaten up by kids who couldn’t get enough of the style. But what about now? Do people want to hear a band that doesn’t have anything new to add to the sound? Or do they just want to listen to the discs they’ve been listening to for years? If it were me, I would have waited another ten years. You’ve got to give people enough time to forget. –mp (Bermuda Mohawk)


OMENS, THE:
Make It Last: 7”
Synthesizer—check. Fuzz—check. High pitched singing—check. Not enough flying saucers, though. –mike (Hipsville)


NU SENSAE:
Self-titled: 12” EP
Love this record! It’s so raw and dirty sounding. The bass sounds like hell, deep and slightly distorted. Andrea Lukic sounds possessed when she sings. The screams are ungodly and unpleasant, and when she sings it’s a mix of anguish, distraction, and coming unhinged. The drums are basic and effective. They do the job perfectly. If you were to mix the most abrasive and hyper elements of Teenage Jesus & The Jerks and early Sonic Youth with early hardcore bands like the Neos, you might come up with something like Nu Sensae. This duo is punk as hell to the core. Three of the songs, “Don’t Panic,” “Graceland,” and “Peter Tripp,” which first appeared on the Emergency Room compilation, are re-recorded here. “Brain Aid” is totally twisted and wrecked. The wailing growls sound like something from a horror film. Only 200 copies of this one-sided 12” are in existence. Seek and destroy. –Matt Average (Isolated Now Waves)


NOBUNNY:
Love Visions: CD
The cliché: Sex, drugs, and rock’n’roll. The Nobunny interpretation: Bestiality, a substance that makes one crawl naked through a parking lot to slither up on stage, and blown-out speaker, one-channel, grease-and-sawdust Casio and microphone. In the best spots, like “Not That Good,” Nobunny reminds me of The Kassos, Scared Of Chaka, Okmoniks, and a lower-fi, lower-budget King Khan at a strip joint with cracked mirrors and fingerprints all over the brass. At worst, it can get a little annoying, like if Atom And His Package had taken on budget rock. Word is that people who are on the fence with Nobunny tend to fall under his charms live, so I’ll wait on my final judgment. I can see tons of people getting into him, though. –todd (1234 Go!)


NO CONNECTION:
Second to None: 7”
The cover of this slab is pretty neat. It has a drawing of the four members of the band running (or maybe circle pitting?) in the background and a stressed-out nun in the foreground, who is clenching her fist and teeth. Maybe they’re about to bum rush the nun from behind. I’m not quite sure. Anyhow, it looks like some fun hardcore punk. Upon pulling this from the bin, I was informed (by Daryl) that the I Object vocalist sings for this band. I haven’t listened to too much I Object, but, from what I have heard, No Connection is pretty different. NC is female-fronted melodic pop punk without being overly melodic or too pop. A Discount comparison seems unavoidable, but Barb (NC’s vocalist) is a bit harder sounding than Allison Mosshart (formerly of Discount). The insert includes brief explanations of the songs, which is kinda all right. The lyrics are good, dealing with various topics such as the metaphysics of love, the sex industry, stem cell research, and four other subjects. All things considered, this is a great seven-song EP. Just turn it up because it’s mastered kinda low, and, well, you should listen to this loudly anyhow. –Vincent Battilana (Barbarossa, Nothing Solid, Redhead, Successful Sex #1)


NERVES, THE:
One Way Ticket: LP
Especially over the past fifteen years, The Nerves’ 7” has become more and more recognized as a mythical Ebay artifact/holy grail of late ‘70s (‘76-’79) L.A. power pop. And for good reason. In the years between then and now, everyone from Blondie to the Exploding Hearts have found much to admire from what Peter Case (who would go on to form the Plimsouls and re-record versions of these songs), Paul Collins (The Paul Collins Beat), and Jack Lee created over a four-year stint. I don’t know if I’ve ever said this about a band, but The Nerves make delicious songs, especially the studio tracks. They’re fun, yet substantive, infinitely listenable, crafted immaculately, and just cool to listen to. They’ve got an inimitable style about them and they make the listener feel good. (They remind me of a band like The Saints, who, for some reason got largely overlooked when they were active, but you can’t second guess their early catalog.) But to merely pigeonhole The Nerves into power pop requires either an expansion or reconsideration of its current definition. More likely, The Nerves are much more than “just a power pop band,” as evidenced by the variation on their approach to music on this record: acoustic guitar-driven songs; songs with Beatles and Buddy Holly sinew; and muscled and lean ballads fill out the grooves next to their best-known raveup, “Hanging on the Telephone.” The a-side has nine studio recordings. It’s the gold. The b-side is nine live and demo tracks (like how the Dils record was released). It’s the gravy. Thirty years after its initial release, revel in the first-ever non-bootleg LP of The Nerves. It’s safe to say that the band finally got the release their status and reputation deserves… and at an attractive price non-collectors are able to afford. Great stuff. –todd (Alive, aliveenergy.com)


NERVES, THE:
One Way Ticket: LP
Especially over the past fifteen years, The Nerves’ 7” has become more and more recognized as a mythical Ebay artifact/holy grail of late ‘70s (‘76-’79) L.A. power pop. And for good reason. In the years between then and now, everyone from Blondie to the Exploding Hearts have found much to admire from what Peter Case (who would go on to form the Plimsouls and re-record versions of these songs), Paul Collins (The Paul Collins Beat), and Jack Lee created over a four-year stint. I don’t know if I’ve ever said this about a band, but The Nerves make delicious songs, especially the studio tracks. They’re fun, yet substantive, infinitely listenable, crafted immaculately, and just cool to listen to. They’ve got an inimitable style about them and they make the listener feel good. (They remind me of a band like The Saints, who, for some reason got largely overlooked when they were active, but you can’t second guess their early catalog.) But to merely pigeonhole The Nerves into power pop requires either an expansion or reconsideration of its current definition. More likely, The Nerves are much more than “just a power pop band,” as evidenced by the variation on their approach to music on this record: acoustic guitar-driven songs; songs with Beatles and Buddy Holly sinew; and muscled and lean ballads fill out the grooves next to their best-known raveup, “Hanging on the Telephone.” The a-side has nine studio recordings. It’s the gold. The b-side is nine live and demo tracks (like how the Dils record was released). It’s the gravy. Thirty years after its initial release, revel in the first-ever non-bootleg LP of The Nerves. It’s safe to say that the band finally got the release their status and reputation deserves… and at an attractive price non-collectors are able to afford. Great stuff. –todd (Alive, aliveenergy.com)


NERVES, THE:
One Way Ticket: CD
The Nerves and I go way back, before I even really knew who the hell they were. They had a song on a Trouser Press compilation, “Working Too Hard,” that I played over and over and over again. More recently, I have seen Peter Case solo a couple times and also with The Plimsouls. I was lucky enough to catch Paul Collins Beat live this year, too. Now if Jack Lee returns… But wait—what every music fan should really demand is a full-blown Nerves reunion. This CD is rock solid from start to finish. Every song, no matter how raw it is presented here, is a power pop gem. I really can’t think of another band that has had three songwriters of this fire and skill in one outfit. “Walking Out on Love,” “One Way Ticket,” and “Hanging on the Telephone” are enough to put them at the top of the power pop hill—without question. I even like “Come Back and Stay,” once I black out Paul Young’s ‘80s schlock version from my mind. This is a fantastic and long overdue release from an AWESOME band. Get this now and you’ll be hard pressed to get the tunes out of your head. –koepenick (Alive)


MYSTERY GIRLS:
Incontinopia: CD
Considering The Mystery Girls’ incredibly mediocre last effort (Something in the Water)—which at even five dollars from the discount record bin, the album’s still a rip-off—the brilliance of Incontinopia is blindsiding. In four years, The Mystery Girls have developed precipitously in musical and lyrical development. In particular, Michael Zink on bass is shit hot; just check the lines on “Quit Your Flyin’ Around” and “I Took the Poison.” Main songwriter Jordan Davis is penning stuff worth remembering. And Casey Grajek’s sole contribution (“We’re So Illegal”) is also noteworthy. Forget Something in the Water; pick Incontinopia—a little Compulsive Gamblers and Flash Express influenced—and give these kids a second chance. Well worth it. –ryan (In The Red)


MORAL CRUX:
Top 40 Hits and Pop Favorites: CD
Moral Crux! You are tampering with my very existence! Did you underestimate my complete and total love of your music? Did you not understand the very real consequences of putting all of your best songs on one CD? Did you not realize that I may not be able to handle this, physically, psychologically, and, dare I say, spiritually? The pressure mounts in my brain! The uncontrollable desire to dance! One amazingly political (and pop punk!) song after another! It does not stop! The questions arise! Does everyone feel this way about music? Were 7” inches created to dole out songs in reasonable doses, so as to avoid this very problem? At any rate, it goes without saying that if this were a cereal, it’d be Lucky Charms…several boxes of Lucky Charms, given to you all at once, with an empty stomach and a large spoon! –Maddy (Jailhouse)


MORAL CRUX:
Pop Culture Assassins: LP
Extraordinary re-release alert! On super heavy and colored (half black, half white—it’s crazy!) vinyl, no less! Lookout released this in 2003, but I don’t recall it being released on vinyl. (Record nerds, please issue a correction letter, if needed!) But let’s stop beating around the bush! If you don’t like Moral Crux, THERE IS SOMETHING WRONG WITH YOU. And not in the cool, “Man, I was weird in high school” way. No, in the legitimately wrong, fan-of-Eddie-Vedder kind of way. In fact, I plan to be filing an amicus brief before the International Criminal Court, which is currently investigating the criminal nature of this band’s underrated stature! Moral Crux have continually done what some might have thought impossible: create the perfect combination of political punk and pop punk. If you haven’t heard the song “Firing Squad,” then you need to put down your Cherry Coke and Wii controller (yes, even Mario Kart can be paused!) and take a rickshaw down to your local record store post haste! If this were a cereal, it’d be Lucky Charms! Yes! Buy this! –Maddy (Jailhouse)


MONUMENT:
A 3 Song 7”: 7”
Monument, from Silver Spring, Maryland provides us with three intricately woven emo songs on this self-released 7”. In the vein of emo prior to it becoming a dirty/household word, drawing from influences such as Braid, American Football, and Cap’n Jazz, the songs are super tight and catchy as all hell. The balancing act of the different vocalists complements the music perfectly. Gritty guitars with screeching vocals interplay with a second warm and sweet jangly guitar and flitting naïf-like vocals. Personal, poetic lyrics are included on liner notes that were handwritten, photocopied, and cut to fit into an envelope included with the records. The record also appears to be hand-numbered, however it is also possible that the band members were simply amusing themselves by numbering this record as number 69 of 420. Regardless, it seems like extra special care was spent in creating the music as well as the packaging. The effort, and the final product, are both met with sincere appreciation. –Jeff Proctor –Guest Contributor (Self-released)


MONIKERS:
Wake Up: CD
I’d been thinking about picking this up since I saw that it had been released. Nothing that I’ve heard from Monikers has disappointed me, but I just put off buying the album. Now that I’ve heard it, I am upset that I didn’t pick it up right when it came out. This album ups the ante for future output from the band. This is a full-length full of melodic pop punk with gruff vocals in debt to early ‘90s EastBay punk—but they’re definitely good for the loan. They take what their forbearers gave to them and made it a bit bigger. The lyrical content is depressing in a life affirming way—it’s like I can put this on for a pick me up when I’m feelin’ down and it can make me feel better even when I’m already feelin’ all right. Even the acoustic track at the end works! –Vincent Battilana (Kiss Of Death)


MENTHOLS, THE:
Miracle Slips: 7”
These guys aren’t too definable—on the last single I thought they were good dick-around rockers like some of the wanking moments of The Spits, but this single is better than the last. “Miracle Slips” is a great rocker, sludging along. “Rats and Insects” is a little more of a meandering garage jam, pretty cool too—more messy. When it gets down to it, if these guys are playing a basement near you, it’s worth driving around to find it. –mike (UFO Dictator)


MARKED MEN:
Ghosts: CD
I have no idea how the Marked Men do it. They are, musically, much smarter than I’ll ever be. How is it that four notes into the first new song, it’s instantly recognizable as a Marked Men song, yet, song after song there are surprises? How is it, that listen after listen, the songs take off their initial masks and reveal new surprises, new dimensions, new faces? How can songs be so layered, so that the tenth time you listen to it, it’s different than the first time you heard it, but it had such a visceral, immediate initial impact? I. Have. No. Idea. I’m not one to compare the Marked Men to themselves. I have everything, from their first 7” on Mortville to this, their last (probably) album, and it all hits different pleasure centers. If, by some chance, you’re reading this, saying to yourself, “Well, what do they sound like, dummy, so I can make a choice here?” Regardless of your financial situation, I suggest you do some saving and pick up anything put out by the Marked Men. This record will probably be the most available. (Their previous vinyl has been woefully under pressed, but I’ve been assured that steps are being taken to rectify that situation.) I’ve said this before, but it’s worth repeating: the Marked Men are at the contemporary pinnacle of what it means to make your own music, control every aspect of recording it, and have the time to perfect it. If you’re holding Razorcake and like it somewhat, odds are in your favor that you’ll love the Marked Men. It’s early February when I’m writing this and there’s no doubt that this record is in the top ten of 2009. It’s impossible that it’ll be surpassed by nine other records; of that I’m absolutely sure. –todd (Dirtnap)


MAKEOUT PARTY, THEE:
Play Pretend: Cassette
I found this tape under a reclining chair in my apartment. That means one of two things: Either my chair has taken a liking to jangly, garage pop music or it was sent to me for review and somehow got kicked out of sight. I tend to favor the first theory. You see, this particular reclining chair has been confined to the computer room, where it doesn’t get much attention. That’s a big change for it. Not too long ago, it lapped up the sunshine that poured through the big glass patio door into the living room of my Grandma’s assisted living apartment. It was surrounded by all sorts of other friendly furniture, busy making visitors comfortable. When my Grandma passed away, furniture was dispersed through the family. Now this recliner sits alone most days. It probably needed something to make it smile. I think it picked the right cassette for the job. –mp (Burger)


MAKEOUT PARTY!, THEE:
Play Pretend: Cassette
My first experience with Thee Makeout Party! was happening to see them live a few years ago. Admittedly I was soured, but mainly because I’d gone out to see The Trashies, and had to leave before they played. Then I saw them again this past summer, and realized “Man, these guys are a pretty fuckin’ awesome power pop band”. I’m still not too familiar, but I’m pretty sure this is just a straight re-issue of their latest full length on cassette, with hand-color, penciled art, and individually numbered, which if you’re going to do a tape, is how you should do it. Nice. –joe (Burger)


MAHONIES, THE:
Hey We Got Coneys. It’s Great, Let’s Dig In!: 7”
Man, lots of stuff going on here. Eight-song 7”, but not a D.R.I. explosion here. More of a spastic, fucked-up couple of guys (I heard ex-members of the great Terrible Twos) making noisy rock that is influenced by in-jokes and music we probably never heard of. Great shit. Spastic in a fun way, catchy moments of dirty fuzzy sounds, some weird timing, actual lyrics—but again, in-jokes or their own language, although it’s much easier on the senses than The Hospitals (whom I love). There is a definite blast of creativity and energy in The Mahonies that other bands could learn from. It’s one thing to sound convulsive and different than the usual garage psychosis, and another thing to really pull it off in a compelling way. Kickass record. –mike (X!)


LOVE ME NOTS, THE:
Detroit: LP
Classy, tasteful farfisa-driven garage rock from Phoenix. Think of a mix of the easier-listening Dirtbombs (Jim Diamond’s sonic trademarks are all over the recording process) and the Detroit Cobras: a chanteuse in white Go Go boots, leading a band whose chops are precise, meaty, and swaggering. What makes it stand up are all the small elements that give The Love Me Nots their own fingerprints on the crime scene: surfy reverb; bright, slippery guitar tones; and Crampsian swagger. It’s forward-thinking retro that’s custom fitted and tailored down to the last note, the last detail (the cream colored vinyl matches the title font on the sleeve). Great stuff. –todd (Project Infinity, projectinfinityrecords.com)


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Razorcake Podcast Player


·AGAINST ME!
·Razorcake Podcast #135
·LIVIDS
·NIKKI & THE CORVETTES
·SHOCKWAVE
·PIRATE CLUB #1
·PROUDFLESH
·KREAMY ‘LECTRIC SANTA
·FUCKING BUCKAROOS, THE / LOS HELLDANDYS


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