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Record Reviews

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Below are some recently posted reviews.

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JAY REATARD:
I Know a Place: 7"
Whoa. Heartfelt singer-songwriter. If you only want your Jay Reatard songs to be fuzz fucked, you may need to skip this one. Or just pick it up at the same time as the extreme Terror Visions LP that just got released, which will destroy the notions he’s gone soft. Over all this time, Jay has played every type of rock from bucket punk to new wavy to death synth, so why not step back too? It’s all rock’n’roll. –mike (Goner)


JAY REATARD / BOSTON CHINKS:
Split: 7"
Great split from Memphis legend and new kids. Jay has a strange ‘70s rock feel to his “Let It All Go,” as in less punk, more rock, sing more than scream, “it’s too lAAAte” radio friendly. Along with his other new 45s, Jay has a collection of lighter songs to party to that are still fun, just more friendly. Boston Chinks continue to impress me after their last 45. They pump out tight rock that feels new and exciting, but it keeps to traditional rock’n’roll themes of get in there, do your business, and leave. Chinks play with Jay on his solo tour, which should be some of the best shows of the year. –mike (P. Trash)


IRON CROSS:
2 Piece and a Biscuit: CDEP
I’ve never denied my unabashed appreciation of this band, one that extends back to 1982 or so, when I first picked up Flex Your Head at a long-gone record store/head shop in Montebello. While they weren’t as speedy as SOA or Minor Threat, something about that primal sound they unleashed on songs like “War Games,” and the tracks on their Skinhead Glory 7” EP just hit something deep inside this angry East L.A. kid and it wasn’t long before I was writing their name all over everything. That said, I was pleased as punch that Sab had gotten the band back together again and eagerly awaited some new material. Well, here some is and, uh, it ain’t quite up there with their earlier work. Sure, you can’t expect the same ol’ shit, especially when you’re talking about a gap in product stretching over two decades, but frankly, the bulk of the stuff here—courtesy of both the current incarnation of Iron Cross and Sab’s other band, the Royal Americans—sounds like yer average American oi band, right down to the almost obligatory cover of Cock Sparrer’s “Running Riot.” It ain’t outright terrible, mind you, so much as it is pedestrian. I kept waiting for that old fire to build up in the pit of my stomach, but it never did. Ah well. –jimmy (13th State)


IMPULSE, THE / BOY/GIRL:
Split: 7"
The Impulse: A familiar name. Featuring members of Dirt Bike Annie, The Impulse fall in between pop punk and power pop, very reminiscent of the Hi-Fives: catchy, upbeat rock’n’roll with the highest priority being on having fun. There’s also a companion DVD included too. Boy/Girl: An unfamiliar name. Mid-tempo, fairly arty, slightly noisy indie rock. I want to say that if it was the mid to late ‘90s, and Sub Pop was based in Hoboken or Jersey City, this band would be on that label. –joe (Self-released)


HYDEOUTS, THE:
Self-Titled: 7"EP
The vocals have that early ‘90s trash rock sound, the music has the early ‘80s L.A. suburban punk sound, and both are ratcheted way the fuck up for maximum effect. Some seriously impressive, rockin’ stuff here and, in a shameless attempt to up their bonus point count, they’ve included in this copy a CD-R with the songs off the EP plus an additional three. –jimmy (Black Lung)


HUNKASAURUS:
Thirds: CD
So-so singer-songwriter stuff. I really wanted to like this CD: a “Mr. Tambourine” and Turtles cover?! Not to mention a clearly negative opinion of the record industry (DIY released CD with slogans lambasting the record business). Unfortunately, I’m left indifferent by the music—although filled with joy that someone hates the tumbling record industry as much as I do! –ryan (Musea)


HOWARD HELLO / GREENNESS:
Split: 2 x CD
This is a double disc split, with five songs being done on the first disc by San Francisco’s Howard Hello (which is primarily Kenseth Thibideau of Thingy, Sleeping People, and Rumah Sakit) and the second disc being comprised of four songs from Greenness and eleven songs of collaborative material. Howard Hello really didn’t do anything much for me. For those not in the know, Howard Hello is similar to much of the other stuff on the Temporary Residence Ltd. label. However, unlike some of their bigger acts (Mono, Explosions in the Sky), Howard Hello doesn’t have any crunchy guitars that kick in. This is all very floaty, ambient fare (with the exception of the final track) with male and female vocals that seem pleasant enough. With the abundance of lots of programmed keyboards and acoustic guitar, this material may be somewhat sissy in some aspects, especially for readers of this zine. But the material from the Greenness disc seems to make up for any let-down Howard Hello may have provided. Greenness is an entirely instrumental act which has a lot more power behind their songs than the ones from Howard Hello. Similar in style to Don Caballero or Oxes, the bass is prevalent and up front while the guitar slinks around carrying the songs with a breath of lightness and the drums are steady but allow for a good groove. Besides, how can you not like a band that has a track called, “In Fond Memory of Doug Keith…Wait He’s Still Alive, I Gotta Call Him”? The collaborative material is fun and all over the place, sounding a bit more like Greenness type material than Howard Hello, but with vocals on some tracks. None of it, however, seems as focused as the Greenness tracks, rather it seems like some people collaborating and not taking it quite as seriously. It doesn’t mean it’s just a big mess, it just means it doesn’t seem to have that direction and drive like the other tracks. One big plus of this release is that all artists’ proceeds go to benefit Children’s Musical Education in St. Augustine, Florida. –kurt (Sickroom)


HOODS UP:
Arms Still Open: CD
Formulaic youth crew (“Pounding, high-energy straight edge hardcore with all the classic elements: singalongs, breakdowns, fast parts, and positive and outspoken lyrics…” that’s what it actually said in the press release). So, yeah, they know the formula, but they know it really well and seem to really enjoy playing the kind of music they love and singing songs about things they really care about. And whether I find this music inspiring or not—and at times I do—from what I can tell from the lyrics and song explanations, these Germans are really caring and down-to-earth people. And that makes this generic hardcore more fun to listen to. –Daryl Gussin (Refuse)


HEX DISPENSERS, THE:
Self-Titled: CD
There aren’t many bands in the underground for whom I’d say “fuck it” and quit my job so that I could go on tour and roadie for them. The Hex Dispensers are one of those bands. Seeing and hearing these songs played every night for a month or two whilst throwing back beers, snorting up drugs, screaming “MEOW-MEOW-MEOW!!!” during “The Crone [99 Cats],” and loading gear into a van would certainly take years off the end of my life, but it would be absolutely worth it. These tunes are a dirty, menacing brand of dark-wave garage pop, the aural equivalent of Black Sunday and the Spits taking a bunch of speed and dancing a midnight, cemetery tango on the grave of the Riverdales. Assuming the Riverdales are dead, of course. Lyrically, the Hex Dispensers tackle popular and kick ass topics such as assassins, E.S.P., haunted TV stations, and witchcraft. The downright groovy “Arsenic Milkshake” concludes the CD with the fantastically sinister lines: “I’ll make an arsenic milkshake/Delicious to the end/I’ll make an arsenic milkshake/It’s sweetened with revenge.” Speaking of which, has anyone seen the Hex Dispensers roadie? I wanted to invite ‘em down to the malt shop for a drink. –benke (Alien Snatch)


HELLRATZ, THE:
Rattengift: CD
Super fast street/crust punk from Germany. Pretty darn good for sixteen-year-olds. It’ll be interesting to see what these kids accomplish from this point on. –mrz (Razorblade)


HEAVY TRASH:
Going Way Out with...: CD
Jon Spencer has been around for ages, and I gotta admit, this is the first time I have ever knowingly sat down to listen to one of his records. Heavy Trash is Spencer and Matt Verta-Ray, formerly of Madder Rose and Speedball Baby, backed by three different bands in various studios around the world. Whatever the incarnation, wherever the location, these wild, not-so-young bucks kick out scorching country-blues, rampaging rockabilly, and full-throttled rock’n’roll. From the early Johnny Cash tones of “That Ain’t Right” to the sheer rock’n’roll exuberance of “They Were Kings” (giving props to The Gories, The Cheater Slicks, and Doo Rag) and “Crazy Pritty Baby,” Going Way Out With… will force your hair into a pompadour of its own accord and your feet to slide around the dance floor independently of your brain. Killer stuff. –benke (Yep Roc)


HAUNTED GEORGE:
Pile O' Meat: CD
The second offering of alienated, sunstroked, desert hallucinations in as many issues from Steve Pallow’s alter-ego, Haunted George, and he continues to sit atop the heap of purveyors of the one man band format. Is anyone out there coming up with lyrics as fucking brilliant as this one from “Song for World Peace”: “I hold these truths to be self-evident/That all men may be cremated equally.” Haunted George’s voice sounds like a parched demon growling at the poor soul he is about to inhabit and torment, and the guitar sounds like its being plucked by the claws of a gargoyle. Pop on “Invisible” and feel the echo liquefy your limbic system. These tunes are coming from another plane entirely. Next level shit, with a cover photo that, unbelievably, looks like the music sounds. –benke (Hook or Crook)


HAPPY BASTARDS / KISMET HC:
Split: 7"
I have to admit that I have had this for sometime in my personal collection. But it has gotten buried in the huge stack of need to listen to records on the floor. Being a record nerd can be counterproductive in your need to listen to new music when you really don’t have a lot of time to just listen to music. Getting a review copy kicked me in the nads to finally hear this. Happy Bastards: This is my first time listening to this band. I didn’t purchase the full length that was put out by Profane Existence. If this is a sample of what might be on the full length, I need to get off my ass and buy it. It’s fierce and fast punk with female vocals that kind of made me think of what a band like Signal Lost would sound like if they played fast. The vocals are audible and not overly screamed. The production has a very live feel and sounds bright. I get feelings of early ‘79 California punk mixed with some of the hardcore of ‘83. Kismet HC: A band that has been around for sometime now, hailing from the U.K. They really leave an impression on their side of the split. It’s full blast and teetering on mass collision punk that feels blistering. It made me feel like I was having irregular heartbeats. Something about the music made me feel manic. Female vocals that made me feel I had to stand at attention and just listen. Guitar, bass, and drums that blur into multiple blasts of anger that make me feel pummeled. They twist things around by slowing things down a couple parts to let you catch your breath before they take you on another ride for your life. A perfect introduction to two bands that match up well and yet sound uniquely different from one another. –don (Fight for Your Mind)


GÜNNA VAHM:
Man Hands for Rump Lust: CD
Heavy-duty noise rock that fits in quite nicely with the Unsane crowd. Lyrics are pretty wacky. –jimmy (Reptilian)


GUN CRAZY / TEEN COOL:
Split: 7"
If, as I want to think, Gun Crazy is writing dull, monotonous rock songs in order to merge style and content, to show that working class life can be dull and monotonous, then they are geniuses. I want to think, for example, there’s a higher purpose behind singing the line “Talk to Jane” twenty-four times, which is quite dull and monotonous, in the song of the same name. This might be wishful thinking on my part. Teen Cool, not quite so dull and monotonous, sound like lesser Social Distortion, like songs The Heartdrops would have weeded out of their set list after a show or two. –Guest Contributor (Cutthroat)


GRABASS CHARLESTONS / THE ERGS:
Split: 7"
I’m a man of many faults. One fault in particular applies to half of this record. It’s the one located somewhere in the crossed wires of my head that causes me to erroneously dislike things that I feel too many other people like. Especially if I didn’t get in on the very ground floor of all this overbearing love. There is absolutely no reason to point out how shallow and down right retarded this is. I think on it often. The Ergs are on fire right now amongst pop punk nerds and the level of praise heaped upon them irks me for some reason. Even though I know that they at least ninety percent fully deserve it. They’re just really good. I enjoy the sounds they make and their impromptu Green Day covers at record store basement shows in San Francisco please me. They’re really nice people. They were on a comp I did and I thought they fucking owned it. Our Bob Stinson who art in heaven wishes he could have nailed that solo so well. But somewhere in the back of my head I want to not like them on account of how much wang suckery people are doing right now over them. Totally not their fault. Mostly unreasonable. Like I said I’m a man of many faults. Anyway I tend to write reviews that rarely inform people of what records actually sound like. In short, if you wish that true pop punk (like Blink 182 never happened) had continued to progress from the ‘90s and maintained its vitality, you’ll be extremely stoked on The Ergs. They bring it in a way that hasn’t been done in a long time and its actual fucking quality. The lip service flood swirling around our waists right now for these guys is actually pretty well deserved. They’re not perfect and every song ain’t a gem but a whole lot of them are. Grabass...bring up the vocals in my monitor! You’re buried back there! You wrote a song about Aaron Kohl god damn it and I want to hear it in its full glory. My only real complaint. Of their two songs “Double Ding-Dong…this song title is too long” is the real winner. Maybe it’s my soft spot for that sweet as pie occasionally one man wrecking ball you call Kohly or maybe it just rocks the face off of the other song. There honestly can’t be a soul reading this magazine who doesn’t know what this band sounds like and I’m trying to knock these damn reviews out so I ain’t going to get in to it. They sound good. That’s all you need to know. On the other hand, something I need to know is why I’ve seen at least four or five record covers over the years with lottery scratch off tickets on them. What’s behind this odd choice of artwork? They don’t look cool so I can only assume it’s a cover for your gambling problems. Just because you made art out of your addiction doesn’t mean it’s not a problem! –Steveo (No Idea)


GORT:
Unravel: 7"
Two man band featuring a baritone guitar and drums. The title track is basically a stoner sludge number that is very Sabbath-like with a ton of bottom end and with very limited vocals: perfect background music if I still smoked a ton of weed. The flipside is a cover of Devo’s “Smart Patrol/ Mr. DNA.” I am a big fan of early Devo, but can a two-man band pull this off? Yes. I really dug their version. Not as sludgy as the title track, but the minimalist and raw approach to the songs came off very well. –don (Flotation)


GOLDEN BOYS, THE:
Whiskey Flower: CD
The album and band name had me expecting folk punk, or perhaps “indie roots,” as I have heard people calling it now. However, this album borrowed sounds from places as diverse as punk, country, and ‘60s garage rock. Some tracks got a little weird for me, but for the most part they’re solid. Sarah Shay –Guest Contributor (Emperor Jones)


GIANT HAYSTACKS / THE OUTNAUTS:
Split: 7"
If Giant Haystacks were based out of London, they’d have been on the cover of the NME by now. Or at least been a single of the week. People toss around the Minutemen thing with them a lot, which is somewhat true, but I think they also fit in with a lot of the arty, angular pretty sweet rock that has been coming out of England in the last few years. If you toss in some Jam and/or Gang of Four with that Minutemen comparison you’ve got something closer to the truth about their sound. I fell a little out of love with these guys over the “A Rebirth of Our City” song on their 7” of the same name. Living in Oakland myself I didn’t exactly agree with some of the sentiments that I perceived were in the song. It sort of weighs on my mind when I think of them now. Anyway I get all sensitive some times about Oakland and what people think may be wrong or right for the city. Blah, blah, blah, East Bay politics. They’re still a good band and good people. The Outnauts from Japan back this thing up with some spastic feedback-peppered punk that you’d be paying $100 a 7” or 8” flexi for if it had come out in ‘85. Quite nice. –Steveo (Snuffy Smiles)


GALLOWS:
Orchestra of Wolves: CD
It would be really easy to make this a three word review: fake ass Converge. The similarities are unbelievable: the artwork, the sound, even a Bannon lookalike on vox. Just take away the quality, make it Warped Tour acceptable, and serve to the young’uns. –frame (Epitaph)


GABRIEL HART:
The Nightlight: 7"EP
Gabe was the lead singer and guitarist for the dearly departed Starvations and now fronts Jail Weddings. This collection of songs is Gabe solo, mostly just him and his guitar. For bearings, think Gun Club, early Nick Cave, a heart engorged with wine and whiskey, of a best friend being sorrow, and veins that pump melancholic blood, both sweet and bitter. With affairs like this—stripped down and scraping bone—one of two things happen. Either a hard light shines on the musician’s limitations to stand alone and is little more than an exercise in egoism. Or, as is the case here, it’s a rare and powerful glimpse at the very core of how a song can be written and performed at its most elemental, to show that without a solid foundation, all further embellishments are merely frosting on hollow musical monuments. –todd (Red Wine)


FUTURE VIRGINS:
Part II: Words & Sounds: 7"EP
Good lord. This is what happens when antes are upped, gauntlets are thrown, and duels are won. This is when you hope that punk rock’s a bit more like Buddhism than Christianity; that circle of life shit where if you’re good and die, you rung up on that karmic ladder and come back as a squirrel instead of just going to a place where your living friends never get to hang out with you. Just what the fuck am I talking about? Prior to the Future Virgins, a couple of these dudes were in a kick-ass band called Sexy. Another dude(s) was in The Jack Palance Band. Both super rad bands, well worth checking out, who called it quits. Tears were shed. The first couple of ounces of 40s were poured on the sidewalk before the first sip. Who knew they had the formula for the musical atomic bomb (one that plants trees instead of killing people) in their back pockets? Catchy, smart, innovative, danceable, honest, and penetrating music: encapsulating some of the core reasons this zine exists. And I know this, too: anybody who listens to the Future Virgins wins. 2007 DIY punk rock at its finest. –todd (Plan-It-X South)


FUNCTIONAL BLACKOUTS / KK RAMPAGE:
Split: 7"
The Functional Blackouts spit spite-filled lyrics over mid-tempo rhythms that remind of a slightly slower, more fucked up Feelers. “Uniform” is the standout and should have been first on their side of the split. KK Rampage has a bizarre, electronic sound that, as far as I can tell, is achieved without any keyboards. The first song, “Catering to the Tastes,” almost sounds like something one would hear in an industrial dance club. “Dark Powers Too” is a bit of a mind fuck, with a choir chanting backing vocals Greek chorus style. The guitars are harsh, the lead vocals are delivered in blood curdling scream fashion, and I can imagine that any serial killer who heard this would have a new favorite band. –benke (Big Neck)


FUCKED UP:
Year of the Pig b/w The Black Hats: 7” (theoretically)

Dear Fuck Up’s publicist,

If you are going to release something on vinyl, send us the vinyl. Don’t send us a burned CD, rubber stamped on the top, because that makes us feel like second class citizens. I’d like to think that we’re equals here—not bands vs. reviewers—but all folks in a long conversation. No one here gets paid for their creative work, so it’d be real nice to have all the artwork and look at the pretty pictures when watching the vinyl spin. If you’ve got costs to cut, so be it—and I’m sure many other magazines will give you ink—but the music itself won’t be reviewed in Razorcake. We mention that at the beginning of every record review section in every issue of this zine, even with a band that I love, such as Fucked Up.

Thanks.

–todd (Put your address on the packaging. I toss all the accompanying “This band is great” publicity hokum.)


FREEZE, THE:
Live from Cape Cod 1980: LP
Live recording unearthed from one the band’s very early shows. Sounds like an off-the-board recording. One thing that surprises me is, for a band so young and just starting off, they were pretty tight. This was recorded right around the time their 1st 7”, I Hate Tourists, came out. So this is the pre-hardcore Freeze. This period of the band reminds me of the Dickies. I usually can’t stand live recordings anymore, but I found myself not bothered by this recording. A history lesson: if you prefer early punk that’s snotty, this is right up your alley. A Freeze fan should already have this or have it penciled in their shopping list. Mailorder copies come on cool and snazzy splattered vinyl and inserts hand signed by Cliff Hanger. So go to the source to score that cool copy. –don (Schizophrenic)


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·ARTCORE #34
·FINGERS, THE
·ADICTS, THE
·STAGE DISASTER / THE DEFICIT
·DIE TRYING
·DOUBLE NEGATIVE
·JEFFREY NOVAK ONE MAN BAND:
·PIÑATA PROTEST
·SCARRED, THE/VOID CONTROL


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