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Record Reviews

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Below are some recently posted reviews.

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EARACHES, THE:
Time on Fire: CD
This is some ripping garage punk coming out of Seattle. Bands like The Drags and The Hate Bombs come to mind. It’s just a big load of fuzzed-out brain damage that never ceases to let up. One thing I found particularly interesting was the message that the band is trying to get through. In my experience, most of these types of garage bands are all about girls, cars, drinking, and heartbreak. I’m not saying that this stuff isn’t here (it is for the most part), but in the packaging in particular there are slogans such as “Start your own band!” “Participate!” and “This album is dedicated to those who choose action over complacency.” That’s the type of attitude in a band that would have Biscuit Turner smiling down on us. Nice work, gentlemen! –ty (Steel Cage)


DISCO ASSAULT:
Demo 2006: CD-R
While there are some serious sentiments being laid down in places here, too much of it reminds me of the Sin 34/ Redd Kross/ Sonic Youth piss-take band Anarchy 6, and believe me, that’s not a compliment. –jimmy (Disco Assault)


DEAF, THE:
This Bunny Bites: CD
Sometimes I crave the sound of bands like Helmet, Unsane, or Refused, so I was thrilled with The Deaf. Like the aforementioned bands, The Deaf delivers the hard and heavy goods without ever boring me with meandering metal riffs. The music is solid, and even more exciting is when Stephanie takes the lead vocals. This band really does it for me on those levels and I appreciate the fact that they exist. –susan (Learning Curve)


DIE HUNNS:
You Rot Me: CD
Duane Peters never fails to amaze me. I mean, really, what are the odds that the guy is even alive let alone churning out quality punk rock and still kicking ass in the combi pool? Die Hunns is DP’s project with his wife Corey Parks and you can tell it’s a labor of love. Where U.S. Bombs have a Sex Pistols meets Gene Vincent kind of feel these days, Die Hunns has a constantly evolving kind of feel. For the most part, it seems rooted in almost a mid-‘60s garage pop/ psychedelic thing but often veers out into some classic punk and ‘70s rock avenues as well. I’ve seen Duane do a lot of things, but who knew he could actually sing? That’s right; the Master of Disaster can really belt it out and does so on a few tracks with great results. His voice is complimented so well by Parks’ too: just a couple of gravel-voiced lovers getting their aggressions out. I think this record has pushed U.S. Bombs out of top spot, in my opinion. One question, though. Is it “Die” as in the German for “the” or is it “Die” as in “Die, you bastard!”? –ty (Volcom)


DIE HOFFNUNG:
Love Songs: CD
Man, can these kids make a racket. Think Birthday Party with a bit more punk ’n’ skronk in the mix. –jimmy (No Idea)


DESTROY NATE ALLEN:
Awake O’Sleeper: CD
Nate Allen is a grocery bagger in San Francisco that tours by Greyhound buses and hitchhiking, to name a few modes of transportation. Although this is acoustic and vocals only, the lyrics seem pretty relevant and reflect disgust with the American economic system. This would go pretty well with reading a Crimethinc. book like Days of War, Nights of Love. This guy does have DIY work ethics nailed down and released this CD for free. But beware, this is pretty mellow, so if you feel like rioting, this isn’t the music to put on the turntable. I think it beats the acoustic Jeff Ott, though. –Buttertooth (Quiver Society)


DESPISED, THE:
Punk, It’s Not for Rich Kids Anymore: CD
Man, the old press sheet says Punk, It’s Not for Rich Kids Anymore is a concept album that the band has been working on for six years! That’s dedication, folks. And if that concept is sucking, they’ve hit the mark. It’s that oh-so-creative punk that’s played at a breakneck pace with never a breakdown in sight—unless it’s for one of those tuneless guitar solo wank-a-ramas—coupled with those awesome vocals that go “Blah blah blah, b b b-blah” in every single, god-forsaken track. I was hoping Killroy would eventually show his face and rub out all the Mr. Robotos, but, much to my dismay, I don’t see him or Dennis De Young. Domo arigato, Despised, for the suck opera. The only thing I can say is that the rich kids can keep this one. –Dave Disorder (VIP Productions)


DEMON’S CLAW:
Satan’s Little Pet Pig: CD
As the United States sinks further into decline, Canada just keeps getting better. Universal health care, an appreciation of cultures and languages (many Canadian high schools follow a dual-immersion format where students are taught in both French and English) and low crime—the only thing they’re lackin’ is good old AMERICAN rock‘n’roll. Bad news, though—pretty soon they’re gonna have that, too. As if Les Sexareenos weren’t a sign of things to come, Demon’s Claw are poised to strip of America of its rock‘n’roll title. Yeah, yeah I know—they can’t take that away from us. Well, friends, black people aren’t making too much rock‘n’roll these days (sans Mick Collins) and that scares the shit out of me. (Don’t delude yourself—rock‘n’roll is black culture, sprinkled with a little Hank Williams…who, not so incidentally, was taught guitar by a black man). It’s as if we—the tortured citizens of the oppressive Bush regime—have turned our backs on rock‘n’roll; only the Starvations’ Gabriel Hart, Miss Alex White, and Jay Reatard are really kicking out the jams now. (And so you know: Greg Cartwright used to live in Memphis, so he’s pretty much black.) Our neighbors to the North have been keeping things together (Deadly Snakes and BBQ), and Satan’s Little Pet Pig is easily going to be one of the top-ten records released this year. Demon’s Claw have grown leaps and bounds since their last effort, branching out musically while still keeping that sordid we-recorded-this-on-reel-to-reel-tape-found-on-the-floor sound. (I mean, this record is really top notch!) Take the opening cut “Shadow of a Castle.” I haven’t heard such focused anger in years; the bass drives like an early ‘70s Iggy cut with lyrics that’d make Howlin’ Wolf say, “Yeah, Canucks, I knows what you’se talkin’ ‘bout. We’s goin’ to the bar!” But, uh, the real nail in the coffin is “That Old Outlaw.” Jesus Christ! Listen to the intro—here that guitar and bass interplay…these Canadian fucks know how to play…reminiscent of Chris Hillman matching up with Roger McGuinn, “That Old Outlaw” sounds like a good fuck feels. Again, again, Canadians aren’t supposed to interpret American rock‘n’roll like this, but they have. (What’s next?—a Canadian writer’s usurpation of Carson McCuller’s title to the American South?) I’m really despondent right now. THIS JUST IN: Predictions for the upcoming decade: The Demon’s Claw will take over little Frankie Lymons’ polygamy title and spawn nearly as many illegitimate children as Screamin’ Jay Hawkins. –ryan (In the Red)


DEADLINE/ BRASSKNUCKLE BOYS:
Can’t Be Beaten: Split CD
Here’s a trans-Atlantic split CD featuring Deadline from England and Brassknuckle Boys from The U.S. Deadline is up first with some great rough-yet-melodic punk rock featuring the amazing voice of Liz Rose. She sounds like a perfect blend of Theo from The Lunachicks and Faye from The Rezillos. Yep, she is that good. Thankfully, the music stands up really well to the vocals and I know I’ll be tracking down some more from this band. Brassknuckle Boys are flying the street punk/ punk rock‘n‘roll flag and they do it quite well. They sound like The Bruisers meet Electric Frankenstein, which I think helps them a lot because those are two sub-genres that tend to breed a lot on mediocrity. These Boys seem to make it just interesting enough for some repeat listening. Throw in a Tom Petty cover (the competent yet grossly overdone “American Girl”) and you’ve got something good. Deadline is definitely the pick of the two though. –ty (Haunted Town)


DEADFALL:
Mass Destruction: CD
Compilation of 7"’s and comp tracks from this current Bay Area band. This band has been scorching lately with their brand of mid-‘80s punk rock and thrash. Live and on recording, they spit it out with the best with songs that change up from mid-tempo to balls-out thrash and vocals that are more phonetic and yelled as opposed to screamed or growled. This is a good introduction for those not in the know, with material that spans from 2002-2006. Twenty-eight songs in about thirty minutes gives you a pretty rapid look at what this band is all about. After that, if your attention is still there, you need to go see the band live. –don (Six Weeks)


DEAD CITY:
The Dead Sessions: CD
This is the sum recorded output of a live/ studio side project fronted by Joe Dias, singer of east coast hardcore legends Lost Generation, with different incarnations featuring at various times Cheetah Chrome and members of 76%Uncertain and Seizure. The results are of the rock/ punk ilk one ultimately expects whenever the words “Cheetah Chrome” are batted around, even if he doesn’t play on all the tracks. Some of it ain't bad, but a large swath of the songs are kinda plodding and lack any of the power or edge of the bands these guys came from. –jimmy (Incas)


DAN PADILLA:
Self-titled: CD
It would be funny to be the one Razorcake writer who doesn’t like all things Tiltwheel and Tiltwheel-related, but I just can’t do it. This CD rules! Dan Padilla stars Davey Tiltwheel, J. Wang, and Gene Doney. Super good melodic punk, about friends, nostalgia, et.al. And, for some reason, when I put it into my CD player, I got a crazy, painful electrical shock, which I could blame on my ridiculous leopard-print slippers, but instead chose to blame on punk rock. Dude! If this were a cereal, it’d be Frosted Mini-Wheats. Crunchy melodies with total sweet pop goodness on top. This CD makes me want to be twenty again, even though (I think) everyone in the band is old. Strange. –Maddy (ADD)


CULTURCIDE:
Year One Again: CD
Although I’d heard of these guys many a moon ago, I’d never heard anything by them, but figured since they were from Texas the worst they’d be was interesting. When Todd told me there was some connection to Really Red and that he liked their Considering Museums as Concentration Camps single, I was sold. I was not, however, prepared for this. Collected here is the work of an old, obscure Houston noise rock band propelled by an ancient drum machine, synthesizers, a guitarist playing more by feeling than by structured musical theory, and a guy with a Texas twang laying down some profound thoughts. The result is some grade-A, WEIRD fuggin’ tuneage that would fit right in with Nervous Gender, The Screamers, Scratch Acid, and, yes, the Butthole Surfers. Not “punk” in the safety pins and stupid hair sense, but about as fucking hardcore as you can get, kiddo. –jimmy (hotboxreview@hotmail.com)


CRIME IN CHOIR:
Trumpery Metier: CD
With a stack of CDs to review, I thought to myself, “I want something heavy and fast to listen to.” Amongst my choices was something from GSL and, based on the label affiliation, I assumed it would fit the bill. Imagine my surprise when I put in the CD and heard a sound akin to Pink Floyd, Emerson Lake & Palmer, or early Genesis. “Okay, this will just last for a little bit and then they’ll rock out,” I said to myself. Yet, next thing I know it was nine songs and over forty-two minutes later and the entire album had gone by, all as instrumental prog rock. The even scarier thing is that I really liked it. With founding members of At The Drive-In and the Fucking Champs, the Crime In Choir may try and compare themselves to a more modern acts like Faust, but, for most people, when they hear the opening notes of the first track, “Women of Reduction,” all they will think is Pink Floyd. The Fucking Champs influence can be heard somewhat, as some of this can occasionally get a good groove going, but it always stays consistent with the prog rock sound. While entirely different from what I was looking for, Trumpery Metier is nonetheless a really solid album. For those of us who secretly keep some of those synth-laden albums in our collection (away from the view of our punk comrades, of course), this will be a perfect addition to that stash. –kurt (Gold Standard Laboratories)


CRACKS:
Stab: Cassette
Seriously, if it weren’t for the modern references to SUVs ’n’ such, I’d swear this was the work of some long lost ‘80s Midwestern hardcore band. Eight tracks in all that cover the bases, from Bush’s stupid war to suburban boredom. The recording is a bit dicey in some spots, but never so bad you can’t tell what’s going on. –jimmy (Phillip Knowles)


CONTROLLERS:
Another Sunny Day: CD
Leave it to Artifix to scrape up yet another crucial collection of rarities from Los Angeles’ punk rock past. Rather than a rehash of previously released stuff or a compendium of recordings of dubious quality, this is a collection of wholly heretofore unreleased gems that stands toe-to-toe with the Controllers disc that came out on Bacchus Archives a couple of years back. Submitted for your approval are their very first demo from 1977, five songs from their 1982 “Masque Reunion” set at the Cathay de Grande with Chalo from the Plugz on drums, their 1996 “reunion” demo (which was also the last recording session with Karla Maddog on drums), and their last demo from 2002, all of which are blessed with simply faboo sound. Add to that some marvy liner notes penned by Johnny Stingray himself and oodles of pics and we’re talking an absolute necessity for the collection. The downside, you ask? That these guys aren’t a household name and still tearing shit up, ’cause they truly were one of the greats. Just give a listen to “Do the Uganda” or my personal pick “Hot Stumps” and try to tell me I’m outta my mind. –jimmy (Artifix)


COMPLETE CONTROL/ KRUM BUMS:
Death Can Wait: Split CD
Here’s a split from a couple bands that I’ve heard of, but never actually listened to before. Complete Control are tough guy punk with soaring vocals and lots of “hey hey” chants in the backups. It may sound strange, but they remind me of what I used to imagine Anti-Flag sounding like after their voices changed during puberty. That said, I really do like this. Krum Bums are pretty good, too. It’s the same kind of music as Complete Control but a slight bit heavier and screechier in the vocal department. It’s not so distracting that I’d turn it off, but I think this disc definitely belongs to Complete Control. Oh, both bands each cover one of the other’s songs. I love it when bands do that on a split. –ty (TKO)


COMMUNIQUE:
Walk into the Light: CDEP
This band used to be American Steel? Wow. They have definitely changed a great deal from those days, although this five-song EP—the band’s first release since the fallout from the Lookout! Records debacle—shows that they still retain some of that punk influence (“Got Your Number”). However, the vast majority of the seventeen minutes of material is treading pretty clear on the heels of bands like Q And Not U and maybe some more poppier emo acts around nowadays. The use of keyboards, which often feature prominently in the songs (see the Faint-esque “Somebody Poisoned the Well”), really takes any kind of connection to the band’s past and sets them apart on their own. While the songs are catchy and definitely numbers that will get the floor dancing—oh wait, most of the band’s fans are too pretentious to probably ever want to dance—will at least get them to tap their toes. That all being said, none of this is very original and seems to play off others who forged this music path before them too much so that I can’t listen to this without thinking something like, “Man, I sure do want to go listen to Q And Not U’s Power album.” –kurt (Sabot)


COLISEUM/ YOUNG WIDOWS:
Split: 7”
Well, it certainly is the prettiest colored vinyl I’ve ever seen: a purple/burgundy/black swirl. Coliseum seem to be moving away from sludge rock—these new songs are in more of a Holy Mountain vein—without losing their trademark heaviness. Unfortunately, this kinda music doesn’t lend itself well to the split 7” format, and just as I was starting to get into it, it was over. The Young Widows have a slower, more deliberate Karp/ Big Business thing going on, with some apocalyptic, crazy Jesus Lizardy guitar squealing. The one-sheet that came with the review copy of this is signed “kind regards” by the Relapse promo lady, like it was a letter from the financial aid office or something. God, the music industry is fucking stupid. –ben (Relapse)


COFFIN DRAGGERS:
Dying Breath: CD
A couple of things up front: 1. I’ve known 2/3 of his band for nearly twenty years now, and for a time even terrorized Los Angeles County with drummer Robert Frank in Our Band Sucks; 2. I’m not much of a psychobilly fan these days and primarily view it as yet another moribund niche ruined by too many punters with too little originality. That said, I gotta say I dig the hell outta this. While the “billy” is decidedly the foundation here, they’ve tossed enough disparate styles into the batter to make for an interesting mélange of hardcore, rock’n’roll, punk, and death rock that remains consistently engaging over the course of the twelve tunes showcased. The band is tight, the guitars are blissfully loud, the tempos are speedy, and the “horror” vibe is tongue-in-cheek enough not to seem pretentious and serious enough to pull off the songs’ dark underpinnings. All in all, this is rock-solid, and I proudly proclaim myself among the ranks of their many admirers, not because I know ’em, but because they’re really fuckin’ good. –jimmy (www.coffindraggers.com)


CHUCK RAGAN:
The Boat/ For Broken Ears: 7”
Allow a heretic a brief confession here. I’ve never been a big Hot Water Music fan. Wait, it gets worse. My favorite songs of theirs are on their split with Alkaline Trio. Wait…it gets even worse. I think Alkaline Trio did a better version of “Rooftops.” I don’t know what it is, but somehow they’re either above my head or below my radar. All I know for sure is that I love the shit out of The Draft’s full length In a Million Pieces and the snails pace at which Chuck’s acoustic recordings are coming out is killing me. This is the first installment of the “Blueprint Sessions” series of singles you can get only by subscribing to get the whole shebang over at No Idea. It’s a six single series and if you subscribe before it’s over, you get a bonus 7” that won’t be on the CD (that you also get when you subscribe) that will come out at the end of the series collecting all the songs together. That’s a little thing I like to call “Sweet dealin’.” Choice anti-war jam on this episode “For Broken Ears.” If this is what happens when Chuck retires…that motherfucker needs to retire more often. –Steveo (No Idea)


CHOP TOPS, THE:
Triple Deuces: CD
Refined and mature musicianship, lighthearted and well-written lyrics, and years of experience and talent are the hallmarks of Triple Deuces, the Chop Tops fourth release. A twangy and polished blend of early rock, honky tonk, rockabilly revival, roots, and blues is pounded in every direction with concise, surefooted delivery, especially on the frequent instrumentals. In line with the gold standard of the Blasters and Stray Cats, even on their cover of Agent Orange’s “Bloodstains.” –thiringer (Split 7)


CHOOSE YOUR POISON:
Thrashed to Ribbons: 7”
Man, I’m having a good month for skate thrash. Choose Your Poison rip it up loud and fast. The vocals tend to lean a little too far into the screamy/screechy end of the spectrum for me, but lyrics are great and, for the most part, understandable. Lots of political statements infused with humor makes for good listening. “Drink, skate, thrash, burn!” –ty (Poison Estate)


CARDIAC ARREST:
Self-titled: 7” EP
Super-speedy hardcore very much in line with what Kangaroo is known for putting out. Singer reminds me a bit of the vato from Slapshot, and the band sounds like they could’ve handily held their own in the early ’80s NY hardcore scene. –jimmy (Kangaroo)


CARDIAC ARREST:
Life’s a... Dead End: 7"
This is the European pressing that is available domestically on Grave Mistake Records and No Way Records. The difference, I believe, is that with this pressing, the cover is B&W and the domestic release is red and yellow. Either pressing you get, you won’t go wrong. Six blasts of early Boston meets DC punk; straight to the point with no filler and so full of energy and angst that it will make you do kung fu kicks at imaginary objects. This release is so good that I have to search out this St. Louis band’s first 7". –don (Kangaroo)


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