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Record Reviews

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Below are some recently posted reviews.

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UNHOLY GRAVE/ ARCHAGATHUS:
Split: 7"
Unholy Grave: Japan’s grindcore maniacs release yet another split. Sounds like a live recording or purposefully recorded super raw. It’s amazing how many bands they have been paired with. Archagathus: They hail from Canada and cookie monster with the best of them. From guttural grunts to screams, they blast some mean ass grind. This band reminds me of local band Progeria meets early Napalm Death. –don (To Live a Lie)


UNDERTAKERS, THEE:
L.A. Muerte: 7” EP
Thee Undertakers were/ are one of the truly great bands to come out of East LA’s punk scene, as anyone who was either privy to seeing them back in the early ’80s, has heard their CD, Crucify Me, or has seen any of their steady stream of recent shows can attest. While often firmly entrenched in the prevailing punk sound popular in Southern California at the time, they weren’t afraid at all to branch out in atypically non-punk directions, a move which gave their output a much broader scope than the average short-fast-loud punters with whom they sometimes shared bills. Collected here are four heretofore unreleased cuts—two more experimental tunes from an ’82 demo with bassist Tracy Skull handling vocal duties, and two more traditional punk rave ups recorded live in 1980 at the Hong Kong Cafe—that provide a nice, succinct document of the breadth of their repertoire. If you’re a fan, this is a mandatory addition to the collection. If you haven’t yet been initiated, this ain’t a bad place to whet the appetite before lapping up the CD. I remain in awe of these guys. –jimmy (Artifix)


TRIUMPH OF LETHARGY SKINNED ALIVE TO DEATH:
Dead Rhythm: CD
Spencer Moody’s (Murder City Devils) latest turgid project, recorded on 4-track. A sparse, cantankerous dirge continuously plows through emotional selvage with minimalist instrumentation and extraterrestrial sound effects. As expected, like nothing you’ve heard before, borrowing elements of Coil, Tom Waits, Joy Division, Lou Reed, and similar otherworldly progeny. Sounds best when utterly, completely alone. –thiringer (GO Midnight)


TRANZMITORS:
Teenage Tragedy b/w Invisible Girl: 7”
Fourth 7” by these Canadians, and although this isn’t my favorite, it’s still cracklin’. Quick explanation. I like it when they sip from the wellspring of Wire and Gang Of Four. This, and it’s definitely not a fault, but a preference, “Teenage Tragedy” sounds really like The Exploding Hearts, which, still, after this time, is a tough spot to step into. “Invisible Girl”’s Elvis Costello/ early Jam-friendly, and that’s not bad at all either. It’s just that I’ve been left sockless after the first three, and this one would literally have to point a gun at me to raise my hands higher in praise for ‘em. I’m sure if all their released songs were reshuffled as an LP, I wouldn’t have such a strong reaction. Short answer: great band, not my favorite 7” by ‘em… but it wouldn’t hurt for you to pick it up because I have a good feeling about this band…. –todd (Deranged)


TRAGEDY:
Nerve Damage: LP
Portland’s Tragedy is the way to go it you’re looking for hardcore that’s simultaneously traditional, eerie, classical-leaning, and progressive. They’ve got that atmosphere-filling sweep of From Ashes Rise, that raspy, immediate barb of Seein’ Red, where you know they’re not fucking around, and, I suspect, that if someone in the band wasn’t trained on a classical instrument, someone in their families was. It’s just too bomb-like precise and textured to merely stumble into such layered songwriting. Throw a bit of Lemmy into the bottom of the smoking bomb crater, and you’ve got a band that’s definitely in the top five percent of hardcore being created right now, in league with Fucked Up. That said, this LP’s beautiful: gatefold, silver-leaf, all DIY, done by the band, and it sounds absolutely great. Remember when people were all rightfully jacked up on Crudos in the ‘90s? Same’s happening to Tragedy right now, and it couldn’t happen to a more deserving band. –todd (Tragedy)


TILTWHEEL/ OFF WITH THEIR HEADS:
Split: 7”
From a dude who’s got two Tiltwheel tattoos and hoping for more—I don’t have to pray that Escondido’s favorite sons are going to suddenly start slurping shit the longer they play music and I’m gonna have to get a big ol’ rose for a cover-up for shameful indiscretion. Nope. Melodies, big landscapes, pretty parts: it’s all there in a humble package, as big and dripping as Davey’s heart. Aces. Off With Their Heads: You know that part the Jawbreaker song, “Boxcar,” where Blake sings “Killing cops and reading Kerouac”? It’s always seemed a little disingenuous. Like, he was overstepping the sentiments a little from the melancholy and trying to puff up a little beyond his frame. Make Jawbreaker work shitty jobs where the deep fat fryer’s burning the hair off their forearms and they’re ugly and they’ll never have clean fingernails. Make ‘em howl because the pain’s hammering them every time they walk out the front door. That’s what I like about OWTH. If they sung songs about killing cops, I’d believe ‘em, and that’s what makes this a great record on both sides. –todd (Fast Crowd)


THOMAS FUNCTION:
The Insignificants b/w Blue and Green, Conspiracy of Praise: 7”EP
Postulating here; these folks like the following: Velvet Underground, Frank Black, The Beatles, XTC, and a host of indie bands that I don’t know. Think constant-tinkling organ, stroked guitar, voice-as-instrument, always-striving-for-melody pop. It’s not quite slashy enough for me to automatically tip towards, nor is it flat-out finger snapping to tuck away my punk-loving proclivities to listen to (even secretly). That said, although it’s not for me, it’s not annoying, doesn’t seem precious or self-involved, and ain’t something I’m going to make fun of. –todd (Tic Tac Totally)


THOMAS FUNCTION!:
Vanity Lights EP: 7”
I was initially only interested in this EP because of the crucified rabbit on the front and the line on the back cover reading, “recorded in March 2006 at the Faggot House,” but this turns out to be a spasm of three really fucking amazing songs. It is brought to you by garage pop rats/ex-members of Alabama Jihad (best band name ever?) and Panicbuttons. The first song “I Kept You (In a Pill Bottle)” seriously sounds like Tom Verlaine from Television washing down with some noisy Coachwhips and Velvet Underground hooks, but then “This Ain’t No Hustle” has twists in plenty of its own weird Alabama vibe to it. The way this is delivered is out-and-out fucking miraculous. –bree (DNH)


THIS MOMENT IN BLACK HISTORY:
About Last Night b/w 7th Heaven: 7”
In my fantasy world where good music is actually given its due, This Moment In Black History would have recorded and released a 7” at Stax (no offence to Exit Stencil Records), instead of just standing in front of the place for their back photo. Because unlike the home of Booker T & the MGs and Otis Redding in the ‘60s, great, soulful music (not necessarily soul music) is much more fractured and underground in this newish millennium of ours. On the good side, if you do some diggin’, golden nuggets like TMIBH slap you aside the head and you can catch them in the modern version of a ramshackle roadhouse (like a warehouse without a stage). This particular 7” reminds me of the Dirtbombs 7” Kapow released a bit back. One side: mustangs trampling you and barely contained mayhem with an eight-armed drummer leading the charge. Much how I imagine Little Richard was when he was starting out: aliens landing in your backyard and handing your ass to you. On the B side, just to show you they’re a pony with many tricks, it’s a loopy, fractured, mellow song that had me wondering how it’d sound at 78 rpm, if the record was warped (it kinda was), or who put Negativland in my Black History. I’ll be listening to the shit out of the first side and admiring their adventurousness on the B side from afar. –todd (Exit Stencil)


SWIMS:
Ride of the Blueberry Winter: LP
Nominally psychedelic, the Swims owe as much to early ‘80s new wave radio pop and mid-to-late ‘80s college rock as they do the whole Nuggets scene. It could be arguably be shown that this band occupies some manner of nebulous middle ground between the dB’s and Redd Kross if one were to use a sufficiently curvy protractor. I might also care to mention the Raspberries and an occasional Moe Tucker vocal interlude in this same breath. A rather interesting record which i do not have a complete handle on at this point in time. Surely some day i must own a bowling ball that looks like this vinyl! BEST SONG: “C’Mon Day” BEST SONG TITLE: Either “We Need…Lava” or “Be My Lava Valkyrie” FANTASTIC AMAZING TRIVIA FACT: I have honestly never seen hand-lettering quite like this. –norb (Prison Jazz)


SUBHUMANS (CANADA), THE:
New Dark Age Parade: CD
Uh-oh. It’s that double edged feeling that you get when one of your favorites gets back together. What if you have to hate their new stuff? I don’t want to have to hate The Subhumans. I don’t want them to become a joke and make a mockery of their legendary status around these parts… I started to sweat. I AM SO RELIEVED! This disc is absolutely amazing. The band has managed to capture the sound and urgency they carried in 1979 and bring it into a new era where the things that they wrote about almost thirty years ago are actually happening now. They could say “I told ya so,” but they don’t. They just keep telling it like it is without pulling any punches. Anyone who knows the band, knows that they’re about action and this is what the record is all about. Life sucks, but what are we gonna do about it? The majority of the record is reminiscent of Incorrect Thoughts-era Subhumans, but they do blast out a couple of hardcore numbers along the lines of No Wishes No Prayers. I can honestly say that, just as it was twenty years ago, no one can tell me how much the world we live in sucks as good as the Subhumans. –ty (G7 Welcoming Committee/ Alternative Tentacles)


STINKMIT:
The Red Album: CD
Hip hop can be just as rebellious—if not more politically motivated—than punk in some instances: Public Enemy preaching revolution, NWA telling tales of life in the hood, and Tupac not giving a fuck. I’m bringing this up because I’m listening to an electro/hip hop/ funk band comprised of Caucasian Canadians dropping rhymes about menstruation cycles and rim jobs. Christ sakes, I feel so violated mentally by having to endure the pain of ingesting this lyrical lobotomy. I’m gonna go wash out my brain with some Dead Prez. –Dave Disorder (Cochon)


STIFF DONUT:
I Did It All for the Cookie: CD
This is my first batch of reviews for Razorcake and I feel like I’m being initiated into the fraternity by being hazed with the dregs of the review pile. If I’m not mistaken, this band used to be called Estrogenocide and have now re-surfaced as Stiff Donut. If I’m wrong, there are two equally incompetent bands on the loose. I’ve slandered these fruitless individuals so many times I’m running out of creative adjectives. Sigh! I guess if El Duce rocked a Casio keyboard, you’d be on the right train track. Ironically, El Duce was run over by a train and, much to my dismay, Stiff Donut has not endured a similar fate. –Dave Disorder (Self-released)


STEER JOCKEY/ BIG JESUS:
Split: 7”
Let’s Pretend is really shaping up to be the best little punk label you’ve never heard of. Every release I hear from them gets consistently awesomer and awesomer. Steer Jockey busts out some cock-rockey (yet still lo-fi enough to be listenable) punk that’s a little too heavy on the goofy effects pedals and guitar wanking, but still pretty enjoyable. Is somebody from the Sass Dragons in this band? It sure sounds like it. Big Jesus follows up with some Zeke/ Dwarves-when-they-were-good type fast dudely punk that slows down into some Sabbathy bong rattling and then speeds back up into uptempo snottiness that evokes Grimple or Filth. God damn Carbondale; keep ‘em comin! –ben (Let’s Pretend)


SS-KALIERT:
Dsklation: CD
This band reminds me of a kid named Jason I went to grade school with. He was an in-the-flesh mohawk punk living in Canadian small town hell. Not only did he become legendary for getting beat up by a teacher for cheering when the space shuttle exploded, but he also introduced me to The Exploited. SS-Kaliert are a lot like a German counterpart for The Exploited (or The Casualties, according to a younger punk in the print shop). Mohawks and bullet belts are the order here. It’s not bad by any means, but just not that interesting… Scratch that, the German factor makes it a lot better than a lot of the other bands trying to do the same shit. I have to stand by my theory that punk rock sounds better in German. –ty (Punkcore)


SPITS, THE:
2006 European Tour: 12” 45
Twelve Spits classics recorded live at various locales, all featuring the band’s archetypical sound: Drums reminiscent of a machine gun high on cough syrup, accompanied by a persistent harangue of corrupted but highly linear buzz and fuzz and voltage, plus vocals that sound like a retarded robot singing bad opera. The compressed acoustics of the live environment suit the band’s sound to a T (whatever exactly that means); i would go so far as to say that this type of recording is such a good fit that this might actually be the quintessential Spits album, if such a thing reasonably exists. Fuck you, monarchy! BEST SONG: “Nuclear Bomb” BEST SONG TITLE: “Spit Me Out” FANTASTIC AMAZING TRIVIA FACT: This is the only Spits album i can think of that isn’t named “The Spits.” –norb (P. Trash)


SPARKLE MOTION:
Self-titled: 7”
I wasn’t sure what to expect with this one. The band name sounds like an off-brand, textured condom that you’d buy out of a dispenser in the restroom of a seedy bar, and the band photo on the cover shows a quartet dressed up like some late ‘70s rock band that sings songs about “working for the weekend” while wearing really stupid looking headbands. And I hate headbands—no offence to Mike Ness. So I was ready to unleash a heaping helping of hate on their sorry Loverboy asses. That is, until the needle hit vinyl. Whoa, son, Mike Reno this is not. This is energetic and catchy-as-hell pop punk with alluring female vocals and it sounds nothing like some pudgy fratboy in a jumpsuit. Thankfully the Richard Simmons getups are a farce. Apparently this 7” is a sampler of songs from the band’s upcoming full length CD. Sounds good to me. I look forward to hearing more. –aphid (Super Secret)


SPARK, THE:
Nobody’s Laughing: LP
Fast hardcore, indeed. This isn’t anything ground breaking, just balls-out, ragin’ hardcore, but this band is pretty far ahead of the game when it comes to their lyrics. This may not be the best example, but I really like this line, “You kill people who kill people to show that killing people is wrong!” Bam! You don’t need a thesaurus to be taken seriously. This album is a perfect example of smart people writing in a very basic, understandable way. I find that commendable and comfortable. Anyways, I guess this band has broken up and this was their last recording, so nab it before it’s tucked away in all your enemies’ record collections. –Daryl Gussin (Mike Fitzgerald)


SORE THUMBS, THE:
5 & Dime: 7”
Solid sing-along punk rock in the vein of bands like the Bodies, with maybe a smidge of the same attitude that permeates the Hostage Records crowd. “Heartbreaks & Razorblades” was especially noteworthy. Limited to 250, so grab it while you can. –jimmy (Noma Beach)


SONIC DOLLS/ APERS, THE:
Can’t Believe I Ever Let You Go: Split 7”
Holy crap! If I were The Apers, I’d stay as far away from the Sonic Dolls as possible! It’s like, um, (Alert: Green Bay Packers’ metaphor) Don Majikowski giving the field to Brett Favre! You just can’t beat the power of the Sonic Dolls’ guitars! Now, I want to clarify briefly. Despite their amazing back-up vocals, the Dolls are no Brett Favre (an honor reserved for the likes of the Replacements, Hüsker Dü, et. al). If this were a cereal, it’d be Kix (The Apers) and Trix (Sonic Dolls). By the way, this is pop punk. –Maddy (It’s Alive)


SOMETHINGS WRONG/ TROUBLE TROUBLE TROUBLE:
Split: 7”
Somethings Wrong: think of a poppier Crimpshine, with dual vocals (one, of which, sounding, again, like Crimpshine but not as deep, and another that I really just can’t explain). Trouble Trouble Trouble: think a mellower Astrid Oto. Overall, this is a cool little slab of wax, reminiscent of some of the earliest Lookout! releases. I think it’s good enough for me to include Asheville on my “places I want to see” list. –joe (Self-released)


SNOWBYRD:
Self-titled: CD
Snowbyrd, not to be confused with the Byrds, likes to misspell things (I guess). Either that, or they like the association (the branding) that comes with linking their band’s name to that of one of rock‘n’roll’s greatest—the Byrds (Gene Clark [dead], Michael Clarke [dead], Chris Hillman [alive], Roger McGuinn [alive], David Crosby [fat as fuck]). That’s really awesome and a good concept. Snowbyrd’s filled with other brilliant ideas, like tacking on a press release to their CD detailing the following “Marketing Highlights”: “Print ads in No Depression, Big Takeover, and more”; “Radio Focus: AAA/ College broadcast, satellite, and internet…” All bullshit aside, here’s a quote from Jean Cocteau (dead) I like a whole lot: “I am altogether opposed to popular entertainment because I consider that all good entertainment is popular.” What Cocteau was getting at is that marketing strategies (hype) might last for an ephemeral moment, but works of great artistry win out. And that’s true. Take Larry Hardy from In the Red Records. That motherfucker keeps putting out brilliant records, and slowly but surely his label has risen. It’s like the Velvets or something—people will catch up; the Velvets are popular now, unlike Captain and Tennille. People will gravitate towards good art (if it’s available). (I think Hardy’s marketing budget is about the size of my old weekly unemployment checks, and he’s getting by all right). Anyway, my point is Snowbyrd’s album is at odds with itself—employing a Rolling Stone magazine-like press release to an album a thirteen-year-old reader of (insert fanzine’s name here) would like (a child of thirteen would probably like this record; it’s developmentally suitable to a teenager—just like the Spin Doctors were to me at that age). Snowbyrd’s debut is a collage of vastly different genres that don’t jibe together—a lot like that horrible band the Transplants, but not as bad. NOTE TO KIDS: If you don’t have them, go out and buy the Reigning Sound’s Too Much Guitar and the Starvations’ Get Well Soon. ADDITIONALLY: If you can’t write a song, play bass or keyboards or something. Hate your parents if they hate you. Love cinema and books. Hate rock critics. –ryan (Saustex Media)


SNAKE TRAP, THE:
At Home in a Hostile World: CD
Jammy, instrumental rock with some math parts, like if your friend’s band practicing in their garage down the street decided they wanted to sound like Don Caballero, but weren’t quite technically proficient enough to pull it off. Maybe if they’d spent more time practicing and working on making their music more interesting instead of writing painfully long-ass liner notes, meticulously listing every instrument and amp they used (right down the brand names and model numbers of each cymbal), it would’ve held my attention longer. –ben (Australian Cattle God)


SMOGTOWN:
Self-titled: 7”
It is a very rare thing for a band as good as Smogtown to come along. It’s also a rare thing for a band that is legendary for being volatile to stick around, but it seems that the Beach City Butchers keep coming back for more and I couldn’t be happier. This piece of wax I’m holding in my hand is proof that these guys can come back more times that Jesus, and still keep kicking ass from the shore to the clubs. John Poddy does a great job on guitar on this. Rumor has it that Guitardo is back. I hope they keep John, too, and go for the twin guitar attack. Tim and Chip are still the rhythm section that everyone wishes was in their band, and, as usual, Chavez is throwing down the words that so clearly describe the decimation and insanity around him. On the A side we have “Ugly American Makeover.” It’s a good song that I think fits in somewhere in between “domesticviolenceland” and “All Wiped Out.” The two tracks on the flip are my favorites. Both “Kids Got Beat Mom” and “White Picket Electric Fence” bring out the stoke in the same was as the Smog on 45 single did. Good work, boys. Keep ‘em coming! –ty (TKO)


SHORTHAND FOR EPIC:
Self-titled: CDEP
I’m a sucker for good vocals. I will probably follow Billy (formerly the frontman of one of the most underrated bands of the last five years, Mea Culpa) through all of his musical journeys because of this. While you won’t find much musically in common with his former band (the snarl and fangs have been traded in for a much more upbeat approach), the message (through poetic lyrics that have the rare ability to not come off as wimpy or trite) is a pretty similar outcry of the world going to pot around us. Shorthand For Epic takes these societal laments, which could just as easily work in dirges, and makes them danceable and fun. And, for me, that’s a necessity because, when everything is failing around me, dancing, if only for a moment, makes it at least bearable. –megan (www.shorthandforepic.com)


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Razorcake Podcast Player


·NAKED AGGRESSION / ALL OR NOTHING H.C.
·FATE VS FREE WILLY
·SUPER SEXY BOY 1986
·HARDCORE ANACHRONISTIC ASSEMBLY Vol. 1
·HIS ELECTRO BLUE VOICE
·DESGUACE
·HEARTFELT BASTARD
·STRAWBERRY GIRL
·ELLIS, NOEL


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