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Record Reviews

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Below are some recently posted reviews.

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GAY, THE:
You Know the Rules: CD
Cutesy girlie pop that simultaneously made my toes curl, my stomach turn and my head miss the Runaways that much more. –jimmy (Mint)


GAY TASTEE:
Gayest Hits: 2xCD
I can’t believe someone spent the money to put out a double CD of this shit! The worst part of it, I’m having to listen to it! Sounds like a boombox recording of a bi-polar street musician. –don (Hoex)


FUSTY LUGS:
6-song demo: CD-R
According to the letter that came along with this demo, these six songs were intended to be on an EP called Rock... and a Hard Place and the cover art was gonna be “a cut and paste of hard dicks playing instruments (because dicks are always funny).” So, with a cover letter like that, how could I not listen to the demo? Luckily, these six songs were a pleasant surprise: fast and tight enough to be called hardcore, drunk and funny enough (or I assume they’re funny; I can’t hear the words but the singer sings like he’s cracking himself up) to be called punk. The guitarist and sometimes singer of Cocaine Piñata is in this band (that means something to about five people). He’s the one who wrote the letter. He was also bummed that the Knockout Pills didn’t mention the Fusty Lugs in the interview that ran in Razorcake #15, but the truth is, they did. I didn’t include it in the interview because, when I was transcribing it, I couldn’t quite make the words out. I was thinking, what did he just say? Rusty Shrugs? Busty Hugs? Lusty Tugs? Oh, fuck it. Anyway, I would say there’s something in the water in Tucson that makes for some pretty fucking solid punk rock, but there’s no water in Tucson. It’s a desert. I don’t know what makes the Tucson punk so good, but I’m glad they’re all sending me their demos –sean (fustynixon@yahoo.com)


FUSE!, THE:
The Fisherman’s Wife: CD
Admittedly, The Fuse! are arty and pretentious, and normally I hate that, but if you bring on this much rock, I’m willing to forgive almost anything. At their best, The Fuse! remind me of The Cows, making noise sound better than noise should. The comparison ends there, though, because The Fuse! don’t stray from your basic song structures nearly as much as The Cows did. At their worst, The Fuse! sound like they’re trying to resurrect the MC 5, but they don’t slide into those moments too often, and you really can’t accuse them of being a knockoff or of chasing any trends. There’s a lot of room for originality left between The Cows and the MC 5, and The Fuse! are taking up that room. This is the kind of album that’ll make you turn it up until your speakers are blown out. Luckily, the way it was recorded makes this album sound like it’s playing through blown out speakers already. I’m still not sure if that’s a good thing, but I’m sure that this is an album that I’m listening to a lot these days. –sean (In the Red)


FUCK YEAHS, THE:
Self-Titled: 7"
This is way fucking overdue. For those unfortunates living outside the Twin Cities of Minneapolis and St. Paul, the Fuck Yeahs have been throwing guitars at each other and getting banned from bars since 1997 or so and all the while playing some of the most infectious “good time” punk rock around. They used to bill themselves as “three chord punk from the land of sky-blue waters” – an apt description as well as a nod to Hamm’s, their favorite beer at the time. Their charm for me has always been like that of a gang of attention deficit kids – the kind back in grade school who would eat play-doh and smear big goopy boogers on the wall to spell out their name – all wired up on SweetTarts and Mountain Dew. They even have a song called “Ritalin,” which is a tip-off right there. Snotty and bratty, but catchy and tight-as-fuck too. Imagine a more revved-up version of the Groovie Ghoulies with chunkier guitars and a drum wizard from Dimension Z. Hopefully this is only the first of many releases to come from this band of happy-go-lucky spazzes. –aphid (Learning Curve)


FRISK, THE:
Audio Ransom Note: CD
Another near miss to these ears here. Like the lyrics a lot, especially the use of alliteration, and I appreciate the attempt to do something different from the norm, but this sounds like the Freeze fucking Guttermouth in all the wrong ways. I really wanted to like this, but I… just… can’t –jimmy (Adeline)


FORGE:
Bring on the Apocalypse: CD
10.0pt;="" mso-bidi-font-size:="" times="" style="FONT-SIZE: 12pt; FONT-FAMILY: ">Helmet meets Ignite. –don (Static)


FIXED IDEA:
Chuco Life XXIV: CD
This has two strikes against it right from the get-go: 1) Ska tunes, 2) The “vato loco” vibe they’re trying to play up here. The whole mystique surrounding the Chicano gang subculture, especially when it comes to the entertainment industry, is nothing more than the Brown equivalent of the minstrel and the inherent “circus music” quality in ska is surprisingly appropriate here. Fuck, you could’ve spent all the time and effort you put into your songs educating those exposed to your music about the good things about the culture instead of reinforcing the stereotype that we are all ignorant criminals. Parade around like a bunch of payasos if you want, but this is one Chicano who won’t be smiling. –jimmy (no address)


FAT ASS:
We Have Come For Your Mothers: CD
So I’m sitting here wading through some bottom-of-the-barrel reject discs I’ve been putting off reviewing for this issue and I come upon this buried in the crap I’ve scooped up. Depressed and more than a little punchy, thanks to the long line of affected college boys who have vented their politically correct rage into my ear over the course of the previous fifteen releases I’ve listened to today, I look at the cover, grunt, place the disc in the stereo and hit “play,” bracing myself for the pop punk onslaught that will no doubt come belching forth from my speakers. Much to my surprise, what came from said speakers if some prime-rate punk rock that sent my depression scampering for the hills. “Man, I needed this,” I say to myself as I crank it up to eleven. Fuck comparisons, this is just one of them discs that just rocks and nothing more need be said about it. A glance at the “thank you” notes on the inside reveals a Razorcake mention and I think how symbiotic that is – we Razorcakers only dig the finest in music and, in turn, are thanked by only the finest of bands. –jimmy (Diaphragm)


FARCES WANNA MO:
If Not Why Not?: CD
Serious nerd-out from 29 Palms, CA. First track: “Grammarchy,” a discourse on language to the tune of “Anarchy in the UK” (barely). Others include “Who’s Got Time to Build Infrastructure?”, “Here is a Cake,” “Bela Lugosi Loves Honky-Tonkin’” and “If the Egges Don’t Cooke.” It’s a huge mess of samples, talking, countless musical styles, and goofy nuttiness. Brings to mind the stuff on Eerie Materials, a label that put out scads of weird homemade weirdness (is it still around?), or maybe a Negativland-obsessed Sockeye. Must get pretty boring out there in the desert. (Incidentally, I saw another Farces Wanna Mo CD at the Children’s Hospital thrift store yesterday. I didn’t buy it.) –Cuss Baxter (My X-Lover)


EXPLODING FUCK DOLLS, THE:
Here’s to Your Fuck: CD
Career retrospective of a band that had Duane Peters in it about ten years ago. Sixteen songs from 1998-92 (reverse chrono order) sounding very much like a SoCal Clash or Sex Pistols. My guess is they were probably a lot more interesting to watch than listen to; some video would have been nice, but I reckon it’ll bring back some pleasant memories for those who did see them. –Cuss Baxter (no label)


EVIL BEAVER:
Pleased to Eat You: CD
Well, I have to say that this CD got my attention very quickly with not only the band name and album title, but the song titles and the fact that there were two attractive ladies on the CD sleeve as well. When I popped it in, however, it was something I wasn’t expecting. I was all ready to hear some low brow porn/thrash/metal/punk a la Stool Sample or something like it. This turned out to be more of an emo/metal CD. I’m not too familiar with this genre so I will have to take some steps back to compare it to what I remember. Grunge is the first word that pops into my head. For instance, if this was 1993, they would have no trouble getting signed to Sub Pop. It’s got a deep, fuzzy sound with decent female vocals singing melodically at times and angry and others. This appears to be two females, one on drums and one on bass. No guitar. It’s not absolutely terrible, but I think this first listen will be its last. –toby (Johann’s Face)


EVEN IN BLACKOUTS:
Foreshadows on the Wall: CD
“Hey, you ignorant music reviewer, you! Our band plays punk rock using solely acoustic instruments! We will bludgeon over the head with this fact until you proclaim us to be the saving grace of modern punk rock!” Guess what? It sucks! The press sheet even calls them minstrels! Maybe if they had electric guitars they wouldn’t sound like the Dixie Chicks. –Josh (Knock Knock)


ESTROGENOCIDE:
Self-titled: CD
This is either two people who have way too much time on their hands or your porthole into the mind of a bi-polar maniac. Equal parts new wave, gore porn lyrics and a drum machine. Songs are sung in a monotone goth-like manner. Irritating enough to bug me after awhile, so you can imagine what the average person would think. –don (M.H.)


ENDS, THE:
New Rome: 7"
In the span of a little over a year, the Ends have become one of the best bands around, luring the listener in with their happy, bouncing rhythms, and then attacking with razor sharp guitar hooks and snotty vocals. That being said, the title song is a bit of a letdown. The music is repetitive and mid-tempo, the vocals are really mumbly, and the whole thing brings to mind a more pedestrian version of the Stitches. The B-side more than makes up for it, though. They play like a band building on their influences rather than being mistaken for them, and it’s a winner. –Josh (Dirtnap)


EMBROOKS, THE:
Back In My Mind: 7"
Strong psych-pop that’s very true to the period they’re obviously influenced by and perfect for my trips to ItchykooPark. What did I do there? You figure it out. –jimmy (Butterfly)


EMBROOKS, THE:
Back In My Mind b/w The Time Was Wrong: 7"
This band’s Our New Day album was one of the top two or three records of 2000 A.D. and remains in the All-Millennium Top Ten (assuming you, like i, consider Y2K to be the first year of the new millennium, even though, owing to an accounting error, 1 B.C. proceeded directly to 1 A.D. without benefit of a year zero – thus technically rendering year 2000 the last year of the second millennium A.D., not the first year of the third); in marked contrast, their first album isn’t even worth listening to. This latest 45 is somewhere in between. The a-side pretty faithfully recreates whatever interval of sonic time (uh... “tyme?”) was in effect when UK freakbeat started to morph into psychedelia; the b-side, apart from a few discontemporaneous production flourishes, sounds like one of those almost-brutal, almost-ballads on The Who’s A Quick One and Sell Out albums. I don’t dislike it, but i don’t really hear a hit here, either – nor is the slashing, punky energy of Our New Day there to give a cursory lapdance to my eternally punk rock lap. New album, please. BEST SONG: “Back In My Mind” BEST SONG TITLE: i don’t like either. FANTASTIC AMAZING TRIVIA FACT: Back cover photo was taken at approximately 5:53 local time. Also, their bass player is actually Lucky the Leprechaun from Lucky Charms™ cereal. –norb (Butterfly)


ELECTRIC, THE:
Poor Loretta: 7"
Hey, I’ve “snorted cocaine off the torsos of the daughters of kings,” too. Nice to know I wasn’t the only one, although I never went so far as to write a shitty song about it. –jimmy (Bert Dax Cavalcade of Stars)


ELECTRIC FRANKENSTEIN/EL NADA:
split: CD
A good split. First off, we have Electric Frankenstein. They have been around for many years, released a ton of records, and they continue to play good, low-down rock’n’roll, or garage, if you want to call it that. If you like them you will want to get this CD. Next up is El Nada. If I’m not mistaken this band has the same Dave Chavez who was in Sick Pleasure, Verbal Abuse, and many other bands. The dude still skates and plays hardcore after all this time, and hardcore is what El Nada is all about. Fast, old school style and guaranteed to make you love ‘em. Each band on this split does three originals and then does a cover of the other band’s song. Now go out and get this CD. –Mike Beer –Guest Contributor (Finger)


DOOM BUGGY:
Versus the Beast: CD
I get the eerie chills of listening to the Suburban Lawns, X-Ray Spex and Lene Lovich, but all at the same time. When I’m ready to shoot something down, a band puts me in my place. –don (Noise Maker)


DOGS, THE:
Suburban Nightmare: CD
Everyone’s favorite LA-by-way-of-Detroit proto-punk band resurfaces with some top-notch rock’n’roll. It’s rare when a band manages to release an album of new material that can stand up to their “essential” efforts of the past, and this is such a case. The songs are strong, the band sounds like it hasn’t aged a day, and the whole thing manages not to sound dated in the least. Crank it up and prove to your mom that people her age can, indeed, bring the rock. –jimmy (Dionysus)


D.O.A.:
25TH Anniversary Anthology: CD
This starts with “Disco Sucks,” from 1978, a cool, raw punk song that shows DOA as a band full of talent. Next you have songs from the two great DOA albums, Something Better Change and Hardcore 81, followed by War on 45, in which DOA – sometimes known as the Canadian Clash – prove that they’re absolutely NOT the Clash and should never try reggae again and never, ever, ever cover “War” again. Good god, y’all. “Fuck You” comes in as a testament to the old days of DOA’s greatness (though it is, of course, a Subhumans [Canada] song), before they mired themselves in metal and pretty much stayed there from 1982 on. In short, this anthology is just like DOA’s music career: fucking awesome at the beginning, and let’s just ignore the rest. –sean (Sudden Death)


DIVORCE:
self-titled: 7” EP
Tumbling-a-piano-down-the-stairs type thrash/grind stuff. Your parents will love it every time you put it on at family gatherings. –jimmy (Tsunami)


DISTRACTION, THE/ THE HATEPINKS:
split: 7"
Distraction: Jangly guitars, keyboards and tone-deaf vocals. Hatepinks: a former Gasolhead, distorted guitars, and a Swell Maps cover. Hatepinks win by a landslide. –jimmy (Lollipop)


DIRTBOMBS, THE:
Dangerous Magical Noise: CD
The Dirtbombs probably should’ve stuck to covering other people’s songs. This doesn’t suck, but it’s not anywhere near as good as Ultraglide in Black, which in turn wasn’t nearly as good as the Gories. It’s a pretty spotty listen, and like almost every supergroup, it seems like a big inside joke. It might’ve made a good seven inch. –Josh (In the Red)


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·REVEREND BEAT MAN & THE CHURCH OF HERPES
·DOUBLE NEGATIVE
·ONE CAR PILE-UP
·FUCKED UP
·GIVE UP ALL HOPE / VAE VICTUS: :
·NOSE KNOWS, THE Vol. 3, Issues 16-20
·SCREAM HELLO
·VARIOUS ARTISTS
·COUNTERPUNCH


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