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Record Reviews

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Below are some recently posted reviews.

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WE THE PEOPLE:
Self-titled: CD
This band could probably benefit from a bit more kinetic energy. Some of the songs deliver, but most move at a pace which promises a big sonic payoff that doesn’t come. Not necessarily terrible, but not terribly awe- or loyalty-inspiring either. –susan (Stop Whining, Start Winning)


WARCRY:
Deprogrammed: LP
Members of Tragedy, From Ashes Rise, and Hellshock rip through some Discharge and Motörhead-influenced hardcore punk. No, no, no, let me do that again. Members of Tragedy, From Ashes Rise, and Hellshock pay homage to Discharge and Motörhead through hardcore punk. If your life is a PDX warehouse party, then this is your soundtrack. –Daryl Gussin (Feral Ward)


WALTZLOVES:
Catch Me a Possum: CD
Fucking Voodoo Rhythm Records! One thing I’ll say about ‘em—their releases are never boring, and this one by the Waltzloves is no exception. It in no way resembles any of the previous Voodoo Rhythm releases I’ve reviewed for Razorcake. It could hardly be called punk rock, but there’s a healthy bit of garage rock spirit buried somewhere underneath the slide guitar, accordion, trombone, and washboard. What sets this apart from the dog shit Zydeco garbage my mom listens to is lyrical content that is true to the oldies and garage pop I love. Songs about holding hands, a girl hoping to get kissed, dancing all night long, and lamenting the long lost love one hopes will come back someday. The bayou beats and Zydeco rhythms were completely unexpected, and I’m not sure how often this will be stuck in the CD player, but, like I said, it ain’t boring, and it’s executed so well that I’m willing to give it a few more spins. –benke (Voodoo Rhythm)


VOLT:
Self-titled: CD
Let’s face it: In The Red Records is the best label going. A look at their last few releases confirms it—Jay Reatard’s self-titled debut; Miss Alex White’s first full-length; King Kahn and BBQ’s What’s for Dinner; and The Demon’s Claw latest LP—whose title escapes me, but certainly has the words “Pilgrim” and “Hell” in it. Anyway, now that that’s out of the way, I’ll move on to Volt’s self-titled record which is on In The Red Records and was recorded in France because Volt is a French band and not the kind of French band from Canada but the kind from France. I don’t know much about France and French people but I do know a lot about French writers from the first half of the twentieth century and a decent amount about French cinema. My favorite French rock’n’roll song is Madeline’s rocker from Jean-Luc Goddard’s film Masculin Feminin which has a Byrds “Eight Miles High”-like thumping bass intro. Volt does not sound like all those French bands from the ‘60s who sounded kind of ridiculous (unlike Madeline’s fictional group), singing songs with lyrics not in their native language set to Mersey beat music. Volt sounds like the Human League but fucked up and kind of ominous. This is, um, like really menacing dark wave shit that has synths and stuff. There is the Fall, too, which is kind of nice although no one can duplicate the Fall except Mark E. Smith and he sometimes manages to fuck that one up. So Volt’s self-titled record has a profile. If it were a perpetrator witnessed at the scene of a crime, it’d be like Alain Delon’s character in the night club scene of Melville’s Le Samourai—there is a visual description but no clear-cut distinguishable, unique features; Volt’s self-titled album is missing some DNA, some fingerprints. Volt knows good music; they’re a smart bunch. However, Volt’s missing that personal touch that makes Jay Reatard Jay Reatard and not some retard rehashing early Roxy Music and the Wipers. As I said before, In The Red is the best, but this record misses the mark. It’s understandable, though, because Americans produce better rock’n’roll than anyone else except Can and Mark E. Smith and the reason why is because America has a large number of black people who’ve built up a deep enough musical reservoir for white people to dip into; with both demographics living in a country built on the myth that “you can make it here if you try”—summed up in the phrase “The Land of Opportunity.” (Most good music is built on heartache and destitution unless you’re 1910 Fruitgum Company.) However, because music has been dying a slow death since probably the early ‘70s, it seems to me that foreigners are slow getting the grasp of rock’n’roll and taking over the American phenomenon. I mean, how good were the Deadly Snakes? And at least one member of King Khan and BBQ is a Canuck—the French people from Canada and not from France. –ryan (In The Red)


VLAD AND THE IMPALERS:
This Blood’s for You: CD
I especially like when these guys go the full-on hardcore route (c.f. “Bolts, Screws, Nuts and Cigarette Butts”), but the bulk of the other tracks, which are infused with more than a little pop, are not painful in the least, and their penchant for stopping in the middle of what they’re doing and going in a different direction keeps a kid on his toes. Features former members of ESL and is limited to 1,000 copies, if that means anything to anyone. –jimmy (Geykido Comet)


VICIOUS, THE:
Alienated: LP
Every time I put this on, I think of Thriller. Not really Michael Jackson, but of the zombie dance in the mini-movie/video. There they are, the undead, surrounded by a pretty shitty world. And what do they do? They dance. The Vicious dance through that doom and gloom with a sound closer to the dearly missed Observers than the bands they share members with (DS-13, Regulations and the (International) Noise Conspiracy). Ridiculously amazing record. –megan (Feral Ward)


VEGETATIVE STATE:
Self-titled: 7” EP
Very sloppy, very early ‘80s (I’m thinking Arizona) sounding hardcore stuff. Not bad at all, although it did kinda send me through a mental time warp for a second there. –jimmy (www.myspace.com/deathbynoise)


VARIOUS ARTISTS:
Planet of Friends: An Antifascist Benefit Comp: CD
This is a benefit comp for a Russian man named Alem Assefa who was subjected to racially motivated violence at the hands of neo-Nazis in a Moscow subway. This comp contains twenty-seven bands from twelve countries. With a release like this, some bands will be good and some bands will be bad, but at least you know that they’re all down. Some of the highlights include: Italy’s posi-fastcore, LEARN; Canada’s punk rock’n’roll, The Rebel Spell; Las Cruces’ desert punks, The Answer Lies; and my personal favorite, Hong Kong’s searing death metalish thrash punk demons, Nanahara Shuya. Being that there’s a wide variety of different styles of punk from all around the world and all the proceeds go to a respectable cause, those are two very good reasons why this is worth picking up. –Daryl Gussin (Boycott the Fencewalkers, daddydamage@gmail.com)


VARIOUS ARTISTS:
New York Vs. New Jersey Punk Rock Battle Royale!: CD
I’m so torn on this. On the pro side: this is a great comp. The point is to listen to the songs (with bands from both states, including The Ergs!, Unlovables, Hunchback, Steinways, and more) and vote on which ones you like best (with the winning bands from each state doing another 7” of their own, and will then “square off” from there so to speak). It makes this more than just another product for people to buy, offering incentive for people to really take some more interest into this sort of thing. It’s very Minutemen-esque in my opinion. On the con side: I’m going to have to listen to so many New Yorkers telling me why they’re so much better than everywhere else in the world, it’s not even funny. –joe (Crafty)


VARIOUS ARTISTS:
Choke On It: LP
Had a hard time reviewing this one: Todd keeps sending me records from people that live in the same town as I do because either a.) he believes—correctly or not—that I’m somehow more “in the know” regarding this or that particular band and/or release due to our shared regional proximity or b.) he thinks it’d be hilarious if someday I write a bad enough review that someone actually comes to my house and kicks my ass. Even with aforementioned ass-kicking in mind, I still gotta say that there’s a ton of questionable shit on here—I mean, how many fag, retard, dick-sucking and “this band likes fucking fat chicks” references does one comp need?—but on the other hand, I am so fucking tired of getting whiny emails from supposedly punk bands and labels complaining about my “pseudo-PC feminist bullshit” reviews. I mean, you’re offensive as fuck and trying to goad people on—and then someone tags you for it in a review and you get all upset. Right, makes perfect sense. So let’s compromise: you folks realize it’s a record review, probably one of many that you’ll get, and it’s not the end of the world if you get a not-so-favorable one. And I won’t “editorialize” for the rest of the review. Okay? Good deal. Here we go: It’s a comp with twenty-seven bands on it, with a first pressing of 500. The original cover must’ve gotten scrapped, because cover models are thanked in the liner notes but the LP jacket just has the title of the record and “A 27 Band Portland, Oregon Compilation LP” on it. Compilations, especially ones themed by regionalism, are always a crapshoot when it comes to quality and consistency, and Choke On It pretty much follows suit: some of the bands totally suck and come across as fucking jackasses, some of them fucking rule. Some of this comp’s songs are exclusive; some have already been released elsewhere. Sonically, it’s all punk stuff—you won’t find any new-wavey danceathons or floor-crying screamo bands here. Some of the bands include Hellside Stranglers, Absolute Rulers, The Raids, Riot Cop, Plan R, Statch And The Rapes, The Manholes, Autistic Youth, Nix, Straitjacket, Pornstore Janitor and The Fags. –keith (Blind Spot)


VARIOUS ARTISTS:
Attack of the One Man Bands: 2 x CD
Four continents worth of OMB tracks guaran-fuckin’-teed to put the boogie in your brain, the shake in your ass, the wiggle in your walk, and knock loose the teeth in your head. This CD is the musical companion to Rock N Roll Purgatory #15, the “lost” OMB issue, and it is a doozy. If you’ve never heard a one man band act before, you’d be hard pressed to find a better introduction to the genre anywhere. The sheer volume—fifty-eight different acts playing one song each—is staggering. If you’ve been listening to this type of stuff since Hasil Adkins started doing the Hunch, you’ll be rolling around happy as a pig in shit to the wild and crazy versions of OMB mayhem contained on these discs. Features songs by Bloodshot Bill, Haunted George, Toothless George, O Lendario Chucrobillyman, Ottoboy the One Man Trash Band, BBQ, and Trainwreck Washington. –benke (Rock N Roll Purgatory)


UV PROTECTION:
Clean Modern Comfortable: CD+DVD
For the sake of honesty, I will admit up front that I’m friends with the singer/keyboardist in this band. That being said, I wasn’t sure how much I was going to like this when Karen sent me their CD. I mean, an all-girl band with two keyboardists and a drummer and a person who only does video and performance? Besides, it seems that often my friends, as much as I love them, don’t always have the most interesting artistic projects. I guess not everyone’s friends can be fronting the next Bad Brains. After a few listens, however, UV Protection really grew on me as a band. The music is so simple and straightforward that all the focus is on the vocals and lyrics and they come across very simply but quite memorable. How often do you think you’ll ever find yourself singing along to a line like, “Animals come and eat all the babies / Animals come and eat all the mommies”? And yet that shit gets stuck in your head. Upon repeated listens I was reminded more of acts like Devo and Ladytron or a twisted old school Nintendo game soundtrack with a lot of fun and occasional female operatic vocals. Additionally, there is a DVD that comes with the CD in which the band allowed various visual editors to put together their own interpretations of the band. Some of these are totally random, but there is the occasional live performance, which is where a band like UV Protection seem to truly shine, as they design elaborate costumes and, as previously mentioned, have a member whose sole purpose is to just perform. I respect this band a lot for knowing the importance of the performance aspect of music, which so many artists seem to have never learned, as well as offering the opportunity to other artists to get their work out there through the DVD process. These short, catchy songs are really a pleasure and as happens occasionally in this line of work, I’m glad I gave something another chance. –kurt (uvprotectyou.com)


UNHOLY GRAVE/THE VANISHING ACT:
Split: 7” EP

 Unholy Grave: Grindy stuff that doesn’t get silly about it. Vanishing Act: Lotsa screaming, and that’s about the total of the impression they left.

–jimmy (Sir Punkly)


UK SUBS:
Another Kind of Blues: CD
By my reckoning, the Subs were always one of the more criminally overlooked bands on this side of the puddle. Granted, they came up in the wake of the Sex Pistols, The Damned, The Clash, and such, but in many ways their harder, more “street” take on the whole punk thing was a bit more influential on later punk rock—with little effort, one can hear the foundations upon which the blueprint for much of the oi and hardcore that followed was built. Their music was also apparently a bit sturdier than that of many of their contemporaries, as evidenced on this reissue of their first album. Although originally released in 1979, most of the tracks are relatively free of cobwebs ‘n’ dust, and can easily stand toe-to-toe to the output of most modern punk bands and slap them silly, as can the band itself, who are still active and still led by the incorrigible Charlie Harper, now in his ‘60s (talk about punk rock lifers!) and still able to tear it up with the best of ‘em. Trivia note: the band has spent the last three decades releasing their albums in alphabetical order, hence this one starts with “a.” Last I checked, they’re on the ass-end of letters right about now. Here’s hoping they start the alphabet over once they reach the end. –jimmy (Captain Oi)


TURBONEGRO / THE RIPPERS:
Split: 7”
This is definitely a boot (scratched-out matrix, hand numbered 1 and 2 for the label sides). Turbonegro: Fuck if I remember this correctly, but “Staten Och Kapitalet,” was originally on Never Is Forever (pre-Ass Cobra, so not the primest of Turbo, but definitely not slouchy and in the Denim Demon phase) but didn’t have any words. This one does, and it’s an Ebba Gron cover. (Thanks to Kalle from Smalltown for introducing them to me.) That’s followed by a cover of Fear’s “I Don’t Care About You.” I’m, by no means, a Turbonegro completist, but, hell, this is a nice addition to their extensive catalog. The Rippers: Maybe, just maybe, there was one part of one Alice In Chains song that I could tolerate. Maybe. But, through some alchemy I’m not quite sure I’ve figured out, The Rippers have taken that passing flash and made two very non-ass songs that are big-sounding, crunchy, tight, and catchy. –todd (Satan. Bootlegs don’t have addresses.)


TURBO A.C.’S, THE:
Live to Win: CD
The band name is inspired by the unassailably cool, ‘70s street gang flick, The Warriors, though they’ve inexplicably supplanted “Turnbull” with “Turbo.” Too bad the music isn’t similarly inspired. In fact, their whole aesthetic seems overwrought and too planned out, from the three dice rolled out to “666” on the inside cover to the half-naked, strip poker-playing pin-up girls on the tray photo to the street-hard looks the band members have plastered on their mugs for the back cover band photo. The Turbos try hard to leave a tough impression. The music sounds a lot like Tiger Army, the Glass Heroes, and, especially, early Rancid. The lyrics are often delivered in an absurd quasi-rap style, and, let me tell ya, Biggie Smalls these cats are not. The further into the disc I get, the more the Tim Armstrong influence drips from the speakers. I could see young kids just getting into punk hearing this stuff, thinking it’s bad assed, tough and cool, and finding an entry into punk rock and underground music, which is alright. But, it sounds a little too much like a cross-eyed meathead doing free word associations with a rock/rap backing band for my tastes. The Baseball Furies would whip these guys’ asses up and down the fuckin’ boardwalk. –benke (Acetate)


TRASHIES, THE:
What Makes a Man Get Trashed?: CD
I first heard this band a while ago, and I’m pretty happy that they finally came around my parts, and I was able to pick this up, their newest full length. It’s a natural progression from Life Sucks, Trash Fuck, and is a bit weirder (in a good way), and has better production (just slightly). I do think a new-comer to this band is better off starting with older material first, but that doesn’t make this any less recommended. –joe (Mortville)


TOUCH ME NOTS:
It’s Not Right But It’s Okay b/w Bag o’Money, Only Friends, Sheldon Munn: 7”EP, 10”
A couple issues back, this husband and wife duo perked my ears up with their Gories, Ghetto Ways, Bassholes-inspired simplerock. Their crunch, shake, and shamble are matched with impossible to dislodge as bubblegum in a beard melodies and lyrics. I don’t know enough about The White Stripes to qualify as an expert on making fun of them, but when people were first losing their fuckin’ minds about Jack and Meg, I was imagining something more akin to the Touch Me Nots. Hell, the drummer not only keeps the beat, she provides a wicked, wiry spine on which the songs bounce, slither, and leer. Great stuff. I recommend both the 7” and 10”. –todd (7”: Nasty Product, 10”: Yakisakana)


TOTALITÄR:
Self-titled: 7” EP
When it comes to primal, no bullshit, Discharge-influenced hardcore, you just can’t fuck with the Scandinavians. Their shit is so monstrously heavy that listeners should be required to wear full body armor before placing needle to vinyl (or pressing “play” if you wanna get all modern about it). Sweden’s Totalitär have been abusing eardrums for nigh on twenty-two years now and, judging from this, they won’t be getting soft with age any time soon. The four tracks here are just crammed with a level of energy and virulence even upstarts one third as long in the tooth have trouble mustering. Some truly awesome stuff, and I mean that in the literal sense of the word. –jimmy (www.feralward.com)


TIM BARRY:
Rivanna Junction: CD
Country is taking over some punk rockers today. First you have Drag The River, who slay, by the way, and don’t forget the speed-metal bluegrass of the late, great, Kirk Rundstrom (RIP) of Scroatbelly and Split Lip Rayfield. Now comes Tim Barry of Avail with his acoustic, hard luck tales, and country swagger. Booze-filled, vagabond traveling, complete with shootings. Throw in a violin, some Dobro, and the same old recipe has the same effect: good, melancholic, country-style rebel rock. –Buttertooth (Suburban Home)


TILTWHEEL / DOWN IN THE DUMPS:
Split: 7”
About nine years ago, coming from the musically barren landscape of rural Nevada and Arizona, I came in contact with Tiltwheel. It was with Bob, their drummer. We had a mutual hate of the band Goldfinger. It was based on a column I’d written about the dishonesty of not only cashing in on trends (ska, at the time), but of “professional” amnesia. Goldfinger had been a horrible, horrible band of another name (Electric Love Hogs) and style a short time before. Over the years, I got to hang out when Tiltwheel recorded their only full-length LP, Hair Brained Scheme Addicts, and have come to the happy conclusion that Davey’s unwittingly been part of the grit and slurry for the cement that I’ve built up a lot of my musical faith around this past decade. Tiltwheel’s taught me that although everything’s falling apart, it is what it is. Eat a burrito. Chill out without ignoring the anger. Political awareness doesn’t need to be overt. Realize that 100 beers for a van is definitely never enough. Take the hits but make your own stuffs without resorting to douche baggery. It’s weird on another level because, for being one of my favorite bands of all time, we’ve never interviewed them in Razorcake because, although I’ve never said it aloud, I’m waiting for the next full length. Here are two more excellent songs. I almost always feel a little bad about the bands on the other side of Tiltwheel splits; they may be pretty fuckin’ great (I’m digging Down In The Dumps), but it’s like comparing a candle with the left eye to the sun with the right. –todd (A.D.D.)


THREE BLUE TEARDROPS:
Rustbelt Trio: CD
It’s been well over a decade since the Three Blue Teardrops’ swaggering, powerful albums One Part Fist and Poised in Hate were unleashed on an unsuspecting and nebulous American psychobilly scene. Rustbelt Trio was a highly anticipated release; old fans expected a glorious show of power and new fans couldn’t wait to hear the hallowed sounds of an urban legend. But with the utmost respect, we’re all disappointed. Rustbelt Trio is mostly slow and plodding, along the lines of TBT’s third album, Milemarker 26, with too few remarkable tunes; a grave departure from the frenetic, adrenaline-fueled first two albums. Dave Sisson and crew are incredibly talented musicians of the highest songwriting caliber who have not languished in the years since TBT, but they seem to no longer possess the raw, untamed fervor and recklessness that set them high above all others. Then again, perhaps none of us do. RIP, TBT. RIP. –thiringer (www. Threeblueteardrops.com)


THEY LIVE:
Blurred: 7” EP
This apparently dates back to 1998, when most of the band up and quit and two brothers decided to record the EP anyway. Having been in almost the exact same position that same year (except our efforts remain unreleased, which is probably for the best), I can totally empathize. The tunes are heavy, thrashy and angry, the execution is tight as hell, and the whole thing leaves little doubt they must’ve been a doozy of a band when they was active. –jimmy (www.toothdecayrecords.com)


TERMINALS, THE:
Forget About Never: CD
This album conjures up that scene in the Blues Brothers where Jake and Elwood go to the church where James Browns has that huge gospel/blues musical number going on. Take that scene and change the band to a genuinely unique garage punk band playing guitar, drums, and organ, and then record the whole tumultuous shebang they raise into what sounds like two microphones that are so overloaded and distorted that all the recording levels are securely in the red. That describes about 3/4s of the album. The mellower numbers on the album tend to sound like slower 45 Graves songs but less hokey (probably due to both bands using spooky organ and having female vocalists more than anything else). This is perhaps the dirtiest, most spazzed-out sounding recording that one is ever likely to encounter outside of a Locust album, but it really works to give everything a unique and urgent gritty rock’n’roll soul feel instead of making everything muddy or headache-inducing. The vocals really make this album. While the male vocals hold their own in the songs they take lead on, it’s the female vocals (I’m guessing they belong to Liz Hitt) that really kick ass because they have that low, in-control Aretha Franklin quality that can be up-beat and aggressive like on “Wild Bill’s Social Club” and the cover of “Liar Liar,” to beautifully soulful like on the track “Ride.” These, incidentally, are my favorite tracks on the album, along with the closer “(She’s Gone) Popcorn.” Highly recommended. –Adrian (Dead Beat)


TATTLE TALES, THE:
Fuck the Ergs: 7”
I like jokes, and I’ve been known to say fuck this or that from time to time. But, here’s the thing—when someone says, “Fuck______,” I’m expecting one of two things. One, that whoever is saying, “fuck_____” is actually better than _____. Or two, that whoever is saying, “fuck_____” is so ridiculously full of shit that it’s funny. (Bloodbath And Beyond could pretty much say fuck anyone, and I’d be behind them.) Here, The Tattle Tales say, “Fuck the Ergs,” and even though they’re joking about the Ergs (one of them is even sporting an Ergs shirt in the photo on the back), I know they’re not a joke band, so my expectations are set. Within three seconds of the first song starting, I’m disappointed. They’re pop, which I expected, but I wasn’t expecting it to be so bubblegum. I can take it in small doses, but by the second side, it’s so sweet (songs about Inspiration Point and dreamy boys) that I feel a bit sick. Sick, and a bit violent. Use sparingly. –megan (Rally)


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by the Los Angeles County Board of
Supervisors through the Los Angeles
Arts Commission.
Department of Cultural AffairsLos Angeles County Arts Commission


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