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Record Reviews

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Below are some recently posted reviews.

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CLINT MAUL:
Ninguna Amplificación!: 7”
Clint Maul is the kind of country singer who might bristle at the title, for as Tom Russell said, “Don’t call me no country singer, those are poison words these days.” His voice might be seasoned by years of whiskey and cigarettes, or the same spent screaming in a punk band, or both. The two A-side songs on this 7” are slow, worn-out, sad country songs played on acoustic guitar and harmonica, with the B-side picking up the beat slightly and taking the sound a little further from southern soil. This ain’t no alt.country or folk-punk, this is just country, the way it should be. –Staff (Toxic Pop)


CHINESE TELEPHONES:
Self-titled: CD
I think if the Marked Men had a touch more of a garage/power pop influence to them, they’d be the Chinese Telephones. Having finally released a proper full length (and after asking about it in a previous review, I can quite safely assume 110 percent of the credit), it’s some more of the familiar, fast, and catchy hits we already love, as well as some slower ones (which the asshole in me still likes, just not as MUCH as the faster/catchier ones, though that’s gradually changing with every listen). Listening to this gives me the impression that these guys are the type of band that could play at a party in any little jerk-water burg, and instantly win over everyone in attendance, from the (literal) kids to the older, “been around” dudes. –joe (It’s Alive)


CHINESE TELEPHONES:
Self-titled: CD
How many times have I burned myself a CD of everything they’ve put out (yes, I ripped all the 7”s. No, I probably won’t burn you a copy.) just to have something of substantial length to listen to. Thank you for finally releasing a full-length. I’m trying so hard to not let them slip into a place where I take them for granted. There’s this amazing band that makes you so ridiculously happy every time you get to see them. But, then you’re close to them. You hear it more and more. You still love it, but it becomes a standard. And that’s a pretty hard standard to maintain. Luckily for me, these guys keep making it sound more and more appealing. Even the rerecorded versions here of “I Think I Can Breathe Now” (which happens to be one of my favorite songs by anyone) and “This Time Next Year” top their earlier selves. The back-to-back tracks, “Back to You Again” and “Stay Around” destroy me with the sweetness of the melodies juxtaposed against the slightly sad lyrical content (I am the biggest sucker for that). I think their secret is in that it definitely has the catchiness of its pop foundation, but a no point does it feel like they’re going to be completely pigeonholed by that, which does nothing but strengthen them. Extra bonus is that Jeff Burke (Marked Men and Potential Johns) provides both backing vocals and the use of one of his songs, “Crying in the Chapel,” which flush out their sound quite nicely. Well worth the wait. Also on vinyl—there was clear, but that’ll be long gone by the time this is printed. –megan (It’s Alive)


CHINESE TELEPHONES / DEAR LANDLORD:
Split: 7”
It’s really no surprise that I like this so much. Dear Landlord is made up of members from Rivethead (who I exist on some days) and The Copyrights (who I’ve just been recently getting into, but really like what I’ve been hearing) and I have no chance of hiding my love of the Chinese Telephones. Take those bands, put them on Adam and Jenna’s label (putting out considerably awesome stuff and are some of the nicest people in California), and I’m a fan before the first spin on the turntable. Oh, and they threw in a CD-R of it in case I feel like taking it on the road with me? Musically, Dear Landlord bring some of the best qualities of both Rivethead and Copyrights without sounding like a carbon copy of either. Chinese Telephones just seem to keep upping the ante (not that I think it was all that low to start with). Justin finds a way to take some pretty classic sounding melodies but keep them feeling fresh and new. Their second track actually has lyrics (a rarity for them), possibly because it’s their (now) former bassist’s song. –megan (It’s Alive/Recess)


CHILDREN’S CRUSADE, THE:
Get Awesome: CD-R
Portland’s Children Crusade won’t have to go on any sort of crusade to get people hooked on this instant classic tribute to ‘90s pop punk. Borrowing from the upper levels of the bygone pop punk golden era, The Children’s Crusade deliver some of the best poppy punk recorded in recent years. The vocals are simultaneously snotty and scary, and the production gives the band an uncommonly full sound for a three-piece. Reminiscent of the old Mutant Pop band After School Special yet with a slightly rawer edge, The Children’s Crusade stands out as one of the more exciting new bands I’ve heard lately. Get Awesome is available as a 10” record with this CD-R included. Warning: neck pain may result from the uncontrollable beat nodding known to ensue upon first listening to this awesomeness. –Art Ettinger (It’s Alive)


CHAZ:
Self-titled: CD
Ack! My mind doth work in mysterious ways! When I saw this, I thought, “Holy shit! Chaz Matthews (Dimestore Haloes) has a new record!” Sadly, this turned out not to be the case, but I won’t hold it against ‘em. This band is a strange mix of power pop, Queen-esque high vocals (scary!), metal (yikes!), hardcore, and the occasional super cool back-up vocals on songs like “Poverty and Romance.” I say: Make all your songs like “Poverty and Romance” and I’ll like you very much! Make all your songs like “The Carrot of Power” (Queen meets hardcore) and I will hide under my bed! If this were a cereal, it would be mostly Corn Flakes with a handful of Trix (yum!) thrown in! Ah, potential! –Maddy (Self-released)


CHAOS UK:
Total Chaos (The Singles Collection): CD
For those already in the know about these guys, this is essentially their self-titled LP with a few singles tacked onto the end. For those not in the know, let’s just say their name fits ’em. Loud, fast, angry and blissfully fucked up, they embodied both the “anyone can do this” attitude of early ’80s punk and the utter rage so many of us were feelin’ back then. Still active and cranking out the hits, this look at their back catalogue chock full of stuff that’s still surprisingly potent after more than twenty years. –jimmy (www.cherryred.co.uk)


CHALLENGER DEEP, THE:
Self-titled: CD-R
This San Diego three piece appreciates the angularity of Drive Like Jehu. These five songs are produced by Mario Quintero at Black Box Studios, just down the street from my house. Sounds nice and thick with the expected bombastic flavor added. Early ‘90s post punk is still alive in 2007. I recommend checking these guys out. Cool lo-fi artwork looks sharpie drawn and I’m sure they hand-etched that shit. –Buttertooth (www.myspace.com/thechallengerdeep)


CATERPILLAR TRACKS:
Scrape the Summer: CDEP
This is the second band I’ve reviewed for this issue that has reminded me of the relatively little-known Haram. There are four tracks from this Cincinnati band that, like Haram, remind me of Drive Like Jehu meets Sonic Youth, with maybe some Mission Of Burma thrown in for good measure. Although it’s tried to mask itself as having five songs, the last track is just noise and is a throwaway. Of what’s left, it’s not by any means horrible. It’s intense, attacking rock and roll, reminiscent of what I might imagine DLJ would’ve sounded like if they had kept a harder edge instead of mellowing out a bit with Hot Snakes. There’s some dynamic here, but the mood is pretty straight forward. Rock, rock, and more rock. It is what it is: a few songs that don’t do much for me but are by no means horrible. –kurt (Phratry)


CAPITAL:
Moment of Silence: CDEP
The cover reminded me of Out Cold’s Will Attack if Provoked (one of the best hardcore records of the past ten years. Seriously essential.), so I started out with some pretty high hopes. And, you know what happens when you go ahead and make that mistake of starting to hope. Smashy smashy hopes. I like one of the singer’s voices, but it works so much better when it’s slowed down a bit, which doesn’t happen that often. –megan (self-released)


CANADIAN RIFLE:
Self-titled: 7” EP
A bit of a surprise here, as nothing about the simple packaging or the lyrics hints at how fuggin’ good this is. At turns deceptively intimate in sound and anthemic without going out of the way to sound as such, all four tracks on here are top notch—mid-tempo, gruff-yet-sung vocals and just sick with hooks, landing them somewhere in the gray area between the Effigies and Naked Raygun. I can easily see these kids blowing up huge in short order. –jimmy (Criminal IQ)


CABRON!:
Mexican Shoe Thief: CD
I really wanted to like this, partially ’cause it’s obvious they put so much work into it, from the above average lyrics to the handmade cover. Thing is, despite their obvious proficiency with their instruments, it’s just a wee bit too far into emo territory and all its pretensions that I gotta take a rain check. –jimmy (www.myspace.com/cabronsd)


BUSY SIGNALS, THE:
Self-titled: CD
It is a lazy man indeed who can think of no better band to compare the Busy Signals to than the Buzzcocks. Unable to think of any better band to compare the Busy Signals to than the Buzzcocks, i thought i’d go the world one better: Procuring the services of a local stopwatch, i actually timed what portions of this record’s efficient 23.5 minute duration actively reminded me of the Buzzcocks. The actual results were ten minutes, twelve seconds. Now, mind you, this is highly unscientific ((plus it’s a pretty crappy stopwatch, i’ve had it since elementary school)); at times i would be frantically stopping and starting when vocals which didn’t remind me of the Buzzcocks ((i’ll tell you ONE god damn thing about it: Busy Signals vocalist Analucia doesn’t sound much like Peter Shelley, and she SURE the hell doesn’t look much like him!)) traded back and forth with guitar riffs that did, etc., and sometimes the band only reminded me of post-reunion Buzzcocks ((e.g., “Just 4 Show”)), but, after crunching the numbers, it appears that this band sounds like the Buzzcocks something like 43.4 percent of the time, which is somewhere around the average field goal percentage of any given NBA team on any given night, which appears statistically significant to me, so it’s settled: Buzzcocks indeed. If you’re scoring at home, the bands that the Busy Signals reminded me of when they WEREN’T reminding me of the Buzzcocks were Heart Attack ((SPRING-WOUND, i tell you! SPRING-WOUND!)), the Epoxies, the Breakouts, the Epoxies again, Nikki & The Corvettes, and 20/20, in that order. Funny thing is that if you pop this disc into your computer and load it into your iTunes®, then look at how the band name comes up, you can see that there has been a “tragic” error, and the band’s name is actually misspelled “BUZY SIGNAL,” not “BUSY SIGNALS.” So, if you are playing thru your tune library with your music organized alphabetically by band name, what band’s songs start playing when this record is over? You guessed it...Buzzcocks for the win. BEST SONG: “Look the Other Way” BEST SONG TITLE: “Ring Ring Ring” FANTASTIC AMAZING TRIVIA FACT: Some fancy guitar company just came out with a replica of Pete Shelley’s Starways™ guitar, and if you correctly guessed the retail price of the guitar, you could win one before it was actually released. Since you could guess three times from the same email address, i guessed 369 dollars, 369 pounds, and 369 Euros, in deference to the Buzzcocks song “369” off of “Trade Test Transmissions.” If the price turns out to be “Sixteen Again,” i’ll surely be kicking myself... –norb (Dirtnap)


BUBBLEGUM SCREW:
St. Valentines Day Massacre: CD-EP
A buncha limeys big on New York junkie punk scrape up four tracks that fall somewhere between the Dead Boys and Thunders. Not bad, not stunning. –jimmy (www.myspace.com/bubblegumscrew)


BORN/DEAD:
The Final Collapse: LP
I stopped reviewing my personal purchases a long time ago. If I did, I would be writing every day for the rest of my life. I buy way too much for my own good. That also means that it takes me a long time in getting around to listening to new stuff. In the case of this release, I pre-ordered a cool half red, half white splattered copy of this record. Not sure how long I have had a copy of this, but I know I hadn’t had a chance to listen to it. But it got pushed up the list real quick when there was a review copy in my box at HQ. Now I can nerd that copy and file it away and play the review copy. Glad that the circumstances worked the way it did. It’s an amazing record from this Bay Area band that keeps getting better and better with each release. I have seen them a few times and truly enjoy their live set. They capture the power of their music and propel it when they play live. On this record, the new songs outshine what they have done previously, taking their anarcho punk sound and pushing it to a new level with an outstanding recording that is not overproduced. The sound strikes you with solid force and is well mixed, letting all participants to be heard equally. The dual vocal attack keeps things interesting while they let you know what they are thinking. Eight songs was a well chosen amount to release (which includes a Crass cover). Not too little and not too much without feeling needy or overwhelmed. These guys tour quite frequently, so if they come though your neck of the woods, you have to witness it for yourself. –don (Prank)


BOMBS AND BEATING HEARTS:
From Dumpsters Rise!: CD
Is this a parody CD? Sadly, I fear it is all too real. If punks keep writing lame songs about eating out of dumpsters, I’m going to have to start a band and write songs about eating food from a grocery store! What ever happened to writing songs about hanging out at Burger King (see: Ramones, Queers, et.al)? This is crappy Crimethinc-influenced folk punk. I wonder if This Bike Is A Pipe Bomb (a great band) ever sit back and think, “What evil force have we unreleased in the world?” If this were a cereal, it’d be Total Punk Anarchy Hobo Ohs. Yikes. –Maddy (Self-released)


BLOTTO:
Remember to Buy The Vinyl First… Singles Collection 2004—2007: CD
Blotto is my absolute favorite band from Japan. Hands down the tightest outfit going right now. Gritty pop punk with enough hooks and melodies to keep you listening through the entire twenty-one tracks here and stoked that they’re still making music. There’s also a great and really noticeable progression from start to finish. They start off strong in the 2004-era songs and end fucking amazing with the songs from 2007. They’re so good that they break through my whole “I need to understand the lyrics so I can sing along despite the fact that everyone wishes I wouldn’t” deal. Some of them are super slurred and some of them are just plain broken English, and I couldn’t care less. This is a compilation of their singles and comp tracks, pretty much up to date if I’m not mistaken. It’s got everything up to their split with Drunken Boat that actually just came out. There is literally no way you could go wrong here. CD version is out now on Snuffy Smiles out of Japan (which I always thought was Snuffy Smile but everything I see now has the extra “s” at the end) and a vinyl version is coming out here in the states on A.D.D. Records. In closing, I’d like to wonder what the deal is with A.D.D.: the good label, and A.D.D.: the somewhat heinous street punk label, coexisting with the same name some how. Seems like the world is small enough that it would have come up before. –Steveo (Snuffy Smiles/A.D.D.)


BLIND SHAKE, THE:
Carmel: CD
I guess I’ve been writing for Razorcake for a while now as I remember reviewing these guys’ last album. So I went back and read my review of their previous release, The Rizzograph. Rock’n’roll, AmRep style. Rock and more rock and straight ahead aggro-rock. That’s generally what I said about it. That seems to follow here as well, although much less AmRep style, more of the aggro-rock. For having a male singer, the vocals are incredibly high-pitched but not annoying. It just sounds like a girl is singing. There is a twinge of that DC sound, but there are still punk rock beats and attitude which causes this album to definitely fall into the post-punk category. All the songs are real short—nothing is over three minutes—which makes for twelve songs in twenty-four minutes. There aren’t any songs that really stick out here, but I do think it’s better than the last album of theirs I reviewed. So at least they’re improving, which is never a bad thing. –kurt (Learning Curve)


BLEEDER PROJECT, THE:
The Systematic Subversion of Fear and Insecurity: CD
A glammy version of Nine Inch Nails meets LinkinPark playing the cosmetics isle of Rite Aid. –don (www.thebleederproject.com)


BLEACH BOYS:
Puke Wave: 7” EP
Judging from the looks and sound of these guys, plus the location of the label, I think it’s a safe bet this ain’t the U.K. Bleach Boys, whose 1978 single “Chloroform” was such a swell bit of limey indie-punk. You get four tracks of punk-fueled surf instrumentals, including the obligatory cover of “Pipeline.” Outside of leaving one to wonder why no one covers the Lively Ones’ “Goofy Foot” just to change things up a bit, this wasn’t bad at all. –jimmy (Rabid Dog)


BARONESS:
The Red Album: CD
I had a dilemma when this came in the mail. I wanted to support that one Razorcake reviewer that always calls out Relapse records for putting software on their CD’s that will damage your computer if you try to copy it, yet I also wanted to do a fair review. Fortunately, after listening I found that the CD sucks so I can do both without compromise. But really, there’s easier ways to hear something that sounds like this without installing spyware on your computer when you play it. I can’t say that I've looked, but I'm sure old Supertramp records aren’t hard to come by. –Craven (Relapse)


BARSE:
If You Can’t Fuck ‘Em, Cut ‘Em Up: CD
These guys purport to be doling out “authentic sounding 77 Brit punk,” but methinks they don’t quite get it, especially lyrically. In the case of the latter, a recurring problem that pops up with many bands trying to do the whole “I’m a sexist pig” thang these days is that so few trying have the proper dose of sarcasm to pull it off and, in the end, sound like a buncha morons who make you wonder just how in the hell they manage to find girlfriends. A little dab o’ intelligence in yer attempts at outrageousness will go miles, kids, and maybe it’s just a language problem thing, but nary a whit of wit is in evidence here. The nth-generation demo quality sound didn’t help their case, either. –jimmy (Hell’s Tone)


BACKSEAT VIRGINS, THE:
Born Again: CD
The Parasites were one of those bands that were so wimpy, even some of pop punk’s most devout followers turned up their noses. The Backseat Virgins is the brainchild of the Parasites’ bassist. They’re just as catchy as The Parasites, but considerably more aggressive. The dual male/female vocals instantly sucked me in, and the low-key use of keyboards livens up the mix as well. The fact that there’s nothing definitively special about these Ramones clone tracks is precisely the charm. Isn’t basic, unadulterated bubblegum punk what the world needs from time to time? –Art Ettinger (Insubordination)


BACKSEAT VIRGINS:
Born Again: CD
Mixed gender pop-punk revivalists with a nice smashy drum aesthetic, a rough-around-the-edges guitar sound, and harmonies quite evocative of those Joe Queer + female guest vocalist ((Lisa Marr, Kim Shattuck, et al)) Queers numbers. While it does amuse me that i can oft-times follow up a line to any song hereon with a line from a Queers song and have it fit perfectly ((count how many times you can work the line “I think I’d rather be at home, listening to the Ramones” into “You and Me.” Scary, isn’t it?)), i can’t say that’s a particularly strong selling point. The band’s definitely got enough burger in their buns to shoot for a stretch goal of being the American Yum Yums ((someday)), but, all the same, the next truly GREAT pop-punk band is gonna be the pop-punk band that manages to NOT remind me and everybody else of the ‘90s. Or so one would believe. BEST SONG: “Lucille,” which is not the Little Richard song BEST SONG TITLE: “Lose That Dude” FANTASTIC AMAZING TRIVIA FACT: You can tell these guys are next-gen because they name drop not only the Ramones ((of course)) but the Groovie Ghoulies as well. –norb (Insubordination)


AVENUE ROSE:
: demo CD-R
I was going to blame the winter on my lack of interest, but it isn’t that. It’s just boring pop. –megan (self-released)


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·PEARS
·ROBERT BELFOUR
·BOMBSHELL ROCKS
·LEMURIA
·FLESH PANTHERS
·P.S. ELIOT
·PSYCHIC BAOS
·BORING, THE
·Razorcake Issue #22, Featuring the Marked Men


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