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Record Reviews

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Below are some recently posted reviews.

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FRUSTRATORS, THE:
Achtung Jackass: CD
Hell yeh, this is giddy, silly, and euphoric pop-punk pizzazz at its most jubilant and upbeat! It sounds incredibly like Green Day (no small wonder, since Green Day’s Mike Dirnt lends his brash bass-thumping abilities as well as backing vocals to this sonically spectacular project!), and my tickled-drunk ears also detect the melodic and lively influences of the Buzzcocks, Dickies, and The Vapors. But I’ll be damned if “.25” doesn’t sound like a long-lost Nirvana track from their angst-ridden “Bleach” sessions, and a spastic cranked-to-the-max cover of The Cars’ “My Best Friend’s Girl” is enthusiastically included herein for your toe-tappin’ listening pleasure, as well. Indeed, this cheerfully smashing CD is impressive, exhilarating, and dazzling beyond belief. It’s guaranteed to provide the ultimate aurally rollicking good time for all of the entire world! –Roger Moser, Jr. –Guest Contributor (Adeline)


FRANKIE VIOLENCE AND HIS DEPUTIES:
John Pill Sessions 4 Hits: CD-EP
This is fist-shakin’, skull-throttlin’ pub-punk rock’n’roll madness! It’s lean, mean, and spastically crazed like a motherfucker! It sounds uncannily like a musical brick-tossin’ riot between The Damned, Subhumans (U.K.), and Johnny Thunders. Hell yeh, I’m absolutely fascinated by this sonically stripped-down display of rip-roarin’, over-amped aggression. It’s indeed a gut-pummelin’ piece of truly turbulent punkrock paradise, so I give it the loudest and most robust of burp-ridden recommendations! –Guest Contributor (Frankie Violence And His Deputies)


FRANKENSTEIN DRAG QUEENS FROM PLANET 13, THE/ NERDS, THE:
: Split 7"
Despite the stupid name and terrible drag/horror outfits, the FDQFP13s manage two pretty swell Southern scum rock numbers. They're from North Carolina. Italy's Nerds (I'm not sure they know what a nerd is, as their side of the record is called "Satan's Rise" and bears a painting of four hooded fellows introducing a cross to a stripped nun's most holy area) sacrifice speed for power and turn in a couple of metallic ones. –Cuss Baxter (Scarey)


FLOGGING MOLLY:
Drunken Lullabies: CD
Think of being at the pub with a group of your closest friends sharing a good time of a few pints of Guinness, Harp or some black and tans. The atmosphere is set for just a boost. The perfect accompaniment to this grand time would be Flogging Molly. With their mix of the Pogues, traditional Irish folk and punk energy, you would have to be dead not wanting to jump and dance. What I am assuming is their second full length, is every bit as good as their previous release Swagger. It's a perfection of tracks that carefully takes you up and down and keeps you interested throughout the whole disc. Seeing them at their record release shows here in LA, I’m guessing that their infectious energy has caught on quite strong. I can’t wait 'till they record and release their cover of Tom Jones’ “Delilah.” –don (Side One Dummy)


FIFTY-TWO:
Lead or Follow: CD
Pretty straightforward hardcore (meaning no abundance of metal wanking) with a dash of country here and there. Not too bad, although the guitar player looks more like Yogi Fuentes than should be humanly possible. –jimmy (Aggravated Music)


FIELDS OF FIRE:
Demo: CD
Fast, spazzy, and satisfying punk rock in the vein of The Zero Boys (whom they cover), Black Flag, and JFA with flourishes of newer incarnations like the Thumbs and Dick Army (not the violin LA one, the good one in NYC). It's full of melody without being outright poppy. It's fast, but every note's still being hit (so rule out powerviolence), and it's hard to type when I listen to it because my fist always wants to raise up and pump along. The cool thing about Fields of Fire is that although they remind me of past great bands from the early '80s, I don't get all misty with nostalgia, but get the sense of a band looking ahead while using some of the tools of the past, and sharpening them for the songs ahead. Looking forward to the progression. This ain't bad at all. –todd (Fields of Fire)


F-BOMB:
El Diablo Dinner Theatre: CD
A melding of college rock, punk and maybe a dash of emo, resulting in a CD that’s as boring as that description sounds. –jimmy (Groundswell)


FAT ASS:
Another Great Day in Shithole: 7”
Hell fuckin’ yeh, this is blistering, balls-out rock’n’roll thunder at its trashiest and most wrathful! It cacophonously sounds like AC/DC, El Diablo, and the Supersuckers savagely runnin’ amok smack-dab into a furiously raging tornado, and then harnessing all of its catastrophic roaring energy and blasting it through a towering stack of Marshall amps. Unbelievably intense! –Guest Contributor (Diaphragm)


FASTLANE:
Hold Your Breath: CD
Emo-saturated hardcore. I nearly made it trough the fourth song before the wretchedness of the music caused me to begin vomiting uncontrollably. –jimmy (Aggravated Music)


FALL SILENT:
Drunken Violence: CD
I came about these guys by accident when I got a copy of their previous release, Six Years in the Desert. I was so blown away because I didn’t expect to be pummeled with a punch to my skull by the sheer speed and rage that was forced into my senses. Continuing on with their manic ways, a new episode is unleashed. Man, I love that traditional speed metal sound these guys present to me. My neck goes spastic and start to bang out of control when I hear the riffage. If you hate metal, go away. But you have to respect a band that puts their heart out front when they are playing Heart’s “Barracuda.” Playing it seriously and not for a joke. Like if Judas Priest was doing a cover of it. Bang your head. Metal health will drive you mad. Ha, ha, ha. –don (Revelation)


FAKES, THE:
Everything: CDEP
What's ultimately creepy about The Fakes is how almost unmistakable G. Edward Stasi's voice sounds almost exactly like Duane Peters' – down to the drawl at the end of long vowels. They probably use the same mouthwash or something. This EP is almost like prime cuts of ultra-prime US Bombs or Duane Peters and the Hunns, down to the Kerry Martinez-like guitar work, the backup vocals, and the California bummer song topics. What's also funny is that I'm not complaining in the slightest. It's fucking enjoyable, if not a little creepy, but I already said that. –todd (Hostage)


EXECRADORES/SIN DIOS:
Split: LP
This was originally released in 1998 on Esperanza Records on CD. Now a vinyl copy is available. Execradores' home base is Sao Paulo, Brazil and they are a self-proclaimed anarcho punk band. Sin Dios share in the same beliefs and call their home base Spain. I couldn’t tell you exactly what the beliefs of both bands are because this came with no lyric sheet. The song titles, for the most part, are in Portuguese and I’m pretty damn sure that the lyrics are definitely Portuguese for the Execradores songs and Spanish for the Sin Dios songs. What I can describe for you luscious readers of my writing is the music. Execradores play straight forward fast punk that is short and sweet. No extra baggage to keep you from losing interest here. They bash into your forehead seventeen songs of what injustices they see. Sin Dios provide ten songs in the same vein; a little more melodic at times but every bit as powerful. One good thing is when you don’t understand the language, you can focus more on the energy of the music and the rage is felt equivocally. –don (Sin Fronteras)


EPOXIES:
Self-titled: CD
I was quite excited when I saw the cover of this CD. Cool band photo, black and white, with a very new wave/Rezillos look to it. And the sound is of the keyboard/new wave punk persuasion. More Rezillos fashion influence than music influence. Girl and boy vocals. And they have cool, Rezillos-esque names like Roxy Epoxy, Viz Spectrum, and Kid Polymer! (Question: How many times can I write “Rezillos” in a non-Rezillos review? Answer: A lot!) Pretty decent! I just wish the songs were more catchy. If that happens, I could imagine their next album being great! If this were a cereal, it’d be Kix. Good! –Maddy (Dirtnap)


END ON END/LIFE IN PICTURES:
: Split 7" EP
Great packaging. Silk-screened sleeve, hand-stamped vinyl, translucent paper insert, limited to 300. End on End: Completely took me by surprise when I saw them live. Andy's a frontman who knows how to work a crowd, go aggro, but never hit anyone who didn't want to get hit. I was less than impressed by their Headline single, but they've learned their lessons well. As they are live, the two songs here are punchy, dynamic, sweaty, and most importantly, don't sound like a Rites of Spring reunion tour. What's immediately obvious on this recording is how tightly wound yet well composed the songs are. They're both gruff and huffy, yet expansive – somewhere between hardcore and emo, but not in a pussy or shitty way. Life in Pictures: Crank up the screamo dial, tap into some metal licks, slow it down, get all moist, drop a tear on their shoes, then go back to yelling. Tough/tender guy stuff that's a harder sell for me. –todd (Coldbringer)


DWARVES:
How to Make Friends and Influence People: CD
It’s the raucously demented Dwarves, so you can assuredly expect some of the most psychotic, decadent, and perverse rock’n’roll noise ever put to tape! This is a killer-crazed collection of re-recorded Dwarves classics (includin’ “Let’s Fuck,” “Anybody Out There?” [my personal all-time fave!], “Saturday Night," “Detention Girl," “Dairy Queen," and several others) and a furiously smokin’ smattering of new material, as well. In my humbly inebriated opinion, it all frenetically sounds like the Ramones maniacally payin’ homage to the Dwarves while jubilantly doin’ the cretin hop in the basement of a lunatic asylum. Hell yeh, it’s that damn spastic, upbeat, and savagely intense! Rock’n’roll just doesn’t get any more violent, destructive, and criminally insane than this. –Guest Contributor (Reptilian)


DUANE PETERS AND THE HUNNS:
Wayward Bantams: CD
The mighty, outspoken, tattooed one is back with a vengeance in all of his disheveled, snaggle-toothed glory! On this here skull-pummeling platter of raging punkrock fury, Duane Peters and his maniacal band of thuggish noise-mongers ballistically blaze through a flesh-scorchin’ swirl of sonic unruliness that quickly crumbled the infrastructure of my house and completely leveled it to the ground! I shit you not, these ferociously spectacular songs slash straight for the jugular like a freshly sharpened straight-edged razor being violently wielded by a deranged, psychopathic madman. The lyrics are humorously sentimental (“Dog Bowl Love”), descriptively disturbing (“Canker Sore of Greenwich St.”), venomously vitriolic (“War of the Worlds”… a well-deserved Duane-style tirade against a certain despicable bin Laden ass-wart!), heartfelt and harrowing (“Jet 757”… a horrific, realistic account of the hijacked jet that crashed in the rural Pennsylvania countryside on September 11th), and uncannily observant of the miserable circumstances facing the unfortunate and desperate rejects of our so-called civilized society (“Hobo Jungle” and “Dead Man Talking”). My personal auditory favorites contained herein include “Surf Sacrifice," “Wayward Bantams," and “Forever After” (a hilarious California-style Sid-and-Nancy story on which dastardly Duane loudly duets with Texas Terri!). By far, this is one of the most energetically inspired discs that’s yet laid waste to my eardrums, and it’s hands-down some of the liveliest working-class music ever conceived. –Roger Moser, Jr. –Guest Contributor (Disaster)


DROPSKOTS, THE:
Self-titled: CD
By-the-numbers modern poppy hardcore. They’re fast, tight and have all the requisite parts to ensure they’ll become huge radio stars, but I still lost interest by the third song. –jimmy (King Bee)


DOC HOPPER/EL SECONDHAND:
Please Send Help: CD
Doc Hopper: maybe I’m feelin’ a little soft or somethin’, but their tracks weren’t as painful as I expected them to be. Their sole original here, “Meister,” was a pretty nice melding of All-lite drive and vaguely Hüsker structure, and their cover of “Kids Don’t Follow” was good, if not as intense as the original. The cover of Black Flag sucked, but that’s just ’cause the song itself sucked to begin with. “South of Heaven” was finely executed, but still pales to the original. Secondhand: They didn’t leave as positive an impression. Their original was not as memorable and their covers, although perfectly executed (especially the Slayer tracks) lacked any sense of immediacy and, ultimately rang hollow. Maybe next time. –jimmy (Attention Deficit Disorder)


DMZ:
Live at the Rat: CD
Monoman Jeff Connelly is a demi-god. He’s still rocking after all these years. Time, drugs, and plain human drama has not been able to stop this man. If you went to the last Shakedown, you’d know exactly what I’m getting at. DMZ is still alive and I hope they get a chance to play around more before they really call it an end. OK, in case you have no idea what I’m talking about, those righteous people at Bomp Records want you to hear and fully understand the power of DMZ. Boston in the mid '70s had a microcosm of bands who played local bars/ restaurants such as Cantone’s and The Rat. DMZ played in front of enthusiastic crowds and although they did not contain any record executives yet, they were making history and garnering status as a band whose influences would touch other musicians through the halls of time. At the time, no one would have guessed the wiser, according to fellow Bostonian, Real Kid John Felice who recanted those days. Well, DMZ eventually did get signed and released a terrific rock album, but alas, the world was just not ready to rock when they had the insolent luxury of Walter Murphy’s Discosymphonic and DMZ fizzled away. Not for long though, because deep in the hearts of rock fans everywhere, they still held a torch for these punk rock titans. They passed the flames to younger generations who easily become rabid DMZ-philes. DMZ is a mixture of the best sixties garage punk, soul, and basic American rock’n’roll. They covered the best fucking songs and gave them their own signature sound. I don’t have to tell you to get this album because you probably have it by now. If you don’t, what the fuck are you waiting for? Now if only people would pay attention to The Customs, too. –nam (Bomp!)


DISTILLERS, THE:
Sing Sing Death House: CD
The Distillers have once again put out a CD I can't stop listening to. This one is a bit harder than their first (which is still on high rotation here). This is kick-ass female fronted punk rock. It's catchy but not poppy. Some of my friends have listened to them and were surprised when I told them a girl was singing. She has a great voice. For those unaware, the singer is Brody Armstrong, Tim from Rancid’s wife. They give Rancid (when at their best) a run for their money. She also happens to be one of the hottest girls in punk. I felt like a teenager in heat when I saw them live. I think I have a crush. Anyways, they actually sound great too. Do yourself a favor and listen to this band. (aside: for Brody fans, you can find a poster of her in the new Hellcat comp.) Damn, I feel like I should be reading Teen Beat. Fuck. –toby (Hellcat)


DISCOUNT:
Singles #1: CD
For a while, when I was living in Florida, it seemed like Discount played at every show I went to. It wasn’t that I was hunting them down, necessarily. They were just the only good, active band in the area at the time. They always tipped the scales for me. I’d be indecisive about checking out a show, but see that Discount was on the bill and figure, well, at least Discount will be good. Now it’s hard for me to decide if they were really that good of a band, or if their music just brings back good memories. I’ve heard two basic criticisms of them: that Alison sometimes sounds like she’s nagging when she sings, and that they don’t have enough of a separation between music and vocals. I can understand the criticism. Neither of these things bother me. I like the way Alison sings. I don’t feel nagged. And, it’s true that the songs might be better if there were more instrumental parts. The music is powerful. It builds and releases a lot of tension. At times, I wish the focus was more on that music and less on the singing along. But, really, all that means is that I want more. And is wanting more really a criticism, anyway? So this is a collection of their early singles, stuff they released in ’95 and ’96. They definitely grew a lot as a band after ’96, and they got a lot better on their later albums. Still, their early stuff has a sincerity and energy to it that I really enjoy. I’m glad they re-released all of these songs. –sean (New American Dream)


DISCONTENT:
Shot Down: CDEP
A high water mark was made with Discontent's Who Killed Vinyl 7" a couple years back. It is, bar none, of the of finest examples of true-grit working class punk the United States has ever made. Shit you not. The six songs on Shot Down follow suit. They doesn’t let up and kick you in the ass so hard right off the bat that you'll be puking up the laces later in the week. What's impressive is how hard they sound without being explicitly macho, and without the slightest hint of metal. Conviction, perhaps? Because they're taking elements that seem to be at the disposal of almost any band, the power comes from titty twisting them until everything's on the edge of breaking: the strings, the drum heads, the stereo, your ears. Totally worth your time. –todd (Hostage)


DILLINGER FOUR:
Situationist Comedy: CD
I can’t fucking believe how good this album is. I know you read a zine like Razorcake and think, man, there’s so many good albums out there, so many good bands, but are there any essential albums? Any albums that I just have to have? The answer is yes. You have to have this album. Imagine walking through the snow on a wet, windy day and no amount of bundling up can keep the cold out. The cold just seems like it’s going right through you. Right into your bones. Now, imaging that cold is music, and it’s a good thing. That’s what listening to Situationist Comedy is like. I wasn’t sure how much I’d like it. Sure, I’m a huge D4 fan. I love their first full-length, Midwestern Songs of the Americas. I still listen to it a lot. When I first got it, I had to pace myself. I figured, if I listen to this album every time I want to listen to it, I’ll get sick of it. I’ll ruin the album for myself. So I controlled myself, and that album has always been close to a CD player of mine since it came out in 1998. D4 released This Shit Is Genius a year later. And that shit was genius. I had to pace myself again. But I also have to admit that, once I got used to hearing This Shit, I started reaching for Midwestern Songs more often. It was still my favorite. Then, D4 put out Versus God in 2000, and, if you ask me, they won. It was another amazing album. But, again, after I got used to hearing Versus God, Midwestern Songs took back the lead as my favorite D4 album. Shortly before Situationist Comedy came out, I listened to Midwestern Songs and wondered if D4 could possibly top that album. Now, I think they may have topped it. Situationist Comedy takes all the elements that make D4 a great band: the infusion of four musicians going nuts but keeping everything together, the ability to seamlessly and perpetually fuck with the tempo of a song, and the perfect balance of Eric’s poppy vocals, Billy’s gruff hardcore vocals, and Paddy’s is-he-really-singing-in-a-punk-band-like-that? Irish tenor. Beyond that, they seem to be growing up as a band. They play together so well. It’s like every note, every riff, every symbol crash is intricately woven to keep the song from unraveling. There’s a constant tension and release in every song. And above it all are some fucking awesome lyrics. After listening to the album about a dozen times, I got sick of trying to sing along with words I didn’t know, so I sat down with the lyric sheet and read along with the songs. I realized that these lyrics are gonna be quoted in nearly every fanzine in the US for the next two or three years. These guys keep tackling their common religious and political themes, but this album adds one more wrinkle – the songs about how the forty-hour-week, work-until-you-retire, identify-yourself-by-your-job mindset of our society is sucking out our soul. And it all comes together at the end in what is probably the most powerful D4 song yet, “New Punk Fashions for the Spring Formal,” driving forward to the last line, “Where’s the do or die? It’s staring you in the eye.” Then the album ends and I get to my only complaint about this CD: I don’t know what to do with myself when it’s over. –sean (Fat)


DIRTY SWEETS, THE:
Bubblegum Damaged : CD
Rip Off Records seems to love trashy rock’n’roll that sounds like it’s tearing up your speakers, no matter how good your speakers are or how loud the music is. The Dirty Sweets fit right in. They have a blown-out garage sound that reminds me of the Motards or the Rip Offs themselves, but when you factor in The Dirty Sweets’ female vocalist, with all her snottiness and attitude, and it’s hard not to compare them to Loli and the Chones. So this album and this sound is nothing new or groundbreaking, but it’s fun as hell and definitely worth a listen. –sean (Rip Off)


DHARMAKAYA:
TN 11/20/01 – Live Bootleg #1 and The End 01/12/02 – Live Bootleg #2: CD-R
Damn, these native sons of Nashville energetically churn-out new auditory releases as often as I giddily cut loose with a rapid-fire succession of volcanically disruptive farts! I’ve now received a grand total of four different Dharmakaya discs during the past ten months, and my ears are still as receptive and enthused as ever regarding the garagey alt-rock liveliness of this Tennessee combo. Even though the sound quality is questionable (muddy, murky, and muffled… these are live “bootleg” recordings, after all!), the band’s genuine devotion to their musical craft is as blatantly obvious as a two-dollar whore’s crack habit! For the record, I recommend the second CD more than the first. The mix is clearer and more evenly toned, plus the guitars are delightfully drenched in a colorful, thick coating of fuzz effects. Either way, Dharmakaya ecstatically perform for the audience as if they’re takin’ ‘em for a ride on a rocket-propelled roller coaster through a booze-soaked sinner’s theme park. So if ya like spirited barroom rock’n’roll that’s perfectly at home in an out-of-control atmosphere of sloppy-drunk rowdiness, then get your grubby lil’ mitts on these here two discs, and let the good times roll where they may… –Roger Moser, Jr. –Guest Contributor (Spat!)


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Razorcake Podcast Player


·FOR THE WORSE
·BRISTLES, THE
·ILLNESS, THE
·BLOODY GEARS
·Ear Goggles #6
·WYMYNS PRYSYN
·AMERICAN CHEESEBURGER
·PINK REASON
·CHINESE HAPPY


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